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Full text of "Photoplay (Jan - Jun 1924)"

I LIBRARY 

| Museum of Modern Art 



Scanned from the collection of 

The Museum of Modern Art Library 



Coordinated by the 

Media History Digital Library 
www.mediahistoryproject.org 



Digitized by the Internet Archive 

in 2012 with funding from 

Media History Digital Library 



http://archive.org/details/pho26chic 



anuary 25c 




bara LaMarr 



ZMary Wickford's Favorite Stars and ^Pictures 

Bebe Daniels and Richard Dix tell "Why I Have Never Married" 1 



The reading of this page will teach you the care of your gums and may prevent 
your toothbrush from ever "showing pink" 



The soft modern food 
that tastes so delicious 
does not give the gums 
the stimulation that 
rough, coarse food once 
gave. 





H isty eating reduces the 
mechanical stimulation 
which food gives to the 
gums. Hasty eating is an 
enemy; proper mastica- 
tion is a friend. 



Soft foods and hasty eating are 

weakening gums and ruining teeth 



THE GREATEST DANGERS with which the teeth 
are threatened today are the dangers which follow 
in the train of a weakened gum structure. 

The records of the clinics and the daily experience of 
the dental profession show an alarming increase in the 
number of tooth troubles which have their source in 



the gingiva (the gum structure) of the human mouth. 

And the causes of this condition are not difficult to 
discover. Undoubtedly the greater nervous tension un- 
der which we live, and lack of sufficient exercise are, in 
many cases, contributing factors, but the source of most 
tooth troubles today can be traced to the modern diet. 



How soft foods cause the toothbrush to "show pink" 



LET'S FACE frankly the situation of your 
teeth and your gums. If you are an average 
person, you eat soft foods, with an undue 
amount of creamy substances and practi- 
cally a total lack of roughage. Probably, 
too, you often eat it hastily; few people 
masticate their food one-tenth as much as 
is proper. 

What is the result ? Instead of stimulat- 
ing the circulation of the blood in the gums, 
by the normal massage incident to proper 
mastication, gums get little or no "exercise." 
Pyorrhea, infected roots, diseased sockets 
and gingivitis are just the normal effects 
from the given causes. 

How Ipana helps soft gums 
become healthy 

Ipana is a tooth paste comparatively new. 



Yet in the short time it has been before the 
profession, thousands of dentists have writ- 
ten us that they have adopted it in their 
practice, and prescribe it to patients, espe- 
cially when those patients show signs of 
congested, soft or bleeding gums. 

In stubborn cases they prescribe a gum- 
massage with Ipana after the ordinary 
cleaningwith Ipana and thebrush, thushelp- 
ing to restore the circulation, to relieve the 
congestion, and to provide the gums with 
that exercise that they need so badly, and 
which our modern food does not give them 
naturally. Granted enough exercise, enough 
stimulation, just as an athlete's muscles de- 
velop under exercise and use, the gums will 
grow firm and healthy. 

In strengthening soft gums and in healing 
bleeding gums, Ipana has a very specific 

A irtat tube, enough to last you for 
ten days, will be sent gladly if you 
will forward coupon below. 



BRISTOL-MYERS CO. 

51 Rector St., New York, N.Y 



Kindly send me a trial tube of IPANA TOOTH 
PASTE without charpe or obligation on my purt. 



Name 

Address.. 



City Sfafe 




virtue. It contains ziratol, a positive anti- 
septic and germicide, and a preparation with 
a recognized hemostatic value. Dentists 
throughout the country use it after extrac- 
tion to allay the bleeding of the wound, to 
heal infected tissue and to restore to irritated 
and under-nourished gums, their normal 
tonicity. 

Send for a Trial Tube of 
Ipana Tooth Paste 

You can judge from the generous sample 
tube, not only the healing effect of Ipana, 
not only its fine free-from-grit consistency, 
not only its remarkable cleaning power, but 
you can judge, too, its fine flavor and clean 
taste. For Ipana is a perfect proof that a 
tooth paste need not have an unpleasant 
taste, in order to be a beneficial agent. 



IPANA 

TOOTH PASTE 



— made by the makers 
of Sal Hepatica 



Photoplai M\(.\/im Advertising Se< h<>n 



3,000 Tears Ago They Began Building Sets 

for 

George Fitzmaurice's 




George Fitzmaurice 



The 

with 

Barbara La Marr 

Lionel Barry more 

Richard Bennett 

Montagu Love 

Bert Lytell 

and 

20,000 others 



From the boo\ by 

Sir Hall Caine 



Adapted by 



Ouida Bergere 



Production of 





Samuel Goldwyn 



City 

Produced by 

Samuel Goldwyn 

not now connected with 

Goldwyn Pictures 



At Rome, Italy, and 
New York, with the 
Co'Operation of the 
Italian Government 



Staged Mtdst the Historical Beauty 
Spots of Rome. A Tense Poignant Romance 



Shown Throughout the V^orld After January First 

A First National Picture 

Now Showing — The Ultimate in Comedy Productions — Potash and Perlmutter 



When you write to advertisers please mention PHOTOPLAY MAGAZINE. 



Photoplay Magazine — Advertising Section 



1924 

Make its leisure hours 
better hours! 

BE one of those who live their lives 
today — not always postponing 
happy times till a future that may 
never come! 

Every day is a great day that sees 
work keenly done and entertainment 
keenly enjoyed. 

This is Paramount's gospel, the gospel 
that you work hard enough to deserve 
in your spare time the finest enter- 
tainment that all Paramount's unique 
resources can give — and plenty of it! 

Don't let rest hours be rust hours! 
See a great Paramount Picture today 
and let it send you out alight with the 
life and the drama and the fun that 
shine in every foot of it! 



mm 






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\ FAMOUS PLAYERS -LASKY CORPORATION J 

ADOLPM ZUHOR, Pwsi'Ai! 



j:M, 



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„O^LS> 



If it's a Paramount Picture it's the best show in town 



Every advertisement In PHOTOPLAY HAGAZECE is gun-.. 





^ 



*l¥ii; 111 f'| ;1 - I 




The WorlJ's Leading Motion Picture Publication 



PHOTOPLAY MAGAZINE 



FKANK T. TOFK 

MkNA.lINU KOITOB 



JAMES R. QUIRK, Editor 



Vol. XXV 



No. 2 



Contents 

January, 1924 



Cover Design Barbara La Marr 

From a Pastel Portrait by Hal Phyfe 

Brief Reviews of Current Pictures 8 

In Tabloid Form for Ready Reference 

Brickbats and Bouquets . 14 

Frank Letters from Readers 

Rotogravure: 19 

Who Is the Beauty of the Screen ? 

Here Is a Portrait Gallery of Lovely Women: If You Select the 
Winner, You Will Receive Her Autographed Photograph _J 

Speaking of Pictures (Editorials) James R. Quirk 27 

Mary Pickford's Favorite Stars and Films Herbert Howe 28 

The Queen of Them All Makes Her Choice 

Why I Have Never Married Bebe Daniels Richard Dix 30 

These Two Famous Screen Favorites Take the Public into Their 
Confidence 

The Autobiography of Pola Negri 32 

Announcing the Great Magazine Feature of 1924 

Winners of Photoplay's Cut Puzzle Contest 33 

List of Names of Those to Whom Goes the $5,000 in Prize Money 

Motion Picture Statistics for 1923 Ralph Barton 36 

Screen Figures for the Year 

Liar's Lane (Fiction) Frank R. Adams 38 

The Story of a Young Man Who Took $50,000 to Hollywood 

Illustrated by Arthur William Brown 

(Contents continued on next page) 

Published monthly by the Photoplay Publishing Co. 

Publishing Office, 750 N. Michigan Ave., Chicago, 111. 
Editorial Offices, 221 W. 57th St., New York City 

The International News Company, Ltd., Distributing Agents, S Bream's Building, London. England 

Edwin M. Colvin, Pres. James R. Quirk, Vice-Pres. R. M. Eastman, Sec.-Treas. 

Kathryn Dougherty, Business Mgr. 

Yearly Subscription : $2.50 in the United States, its dependencies, Mexico and Cuba ; 
$3.00 Canada; $3.50 to foreign countries. Remittances should be made by check, or postal 
or express money order. Caution — Do not subscribe through persons unknown to you. 

Entered as second-class matter April 24, 1912, at the Postoffice at Chicaeo, 111., under the Act oi March 3, 1879. 



ADKI.A IKXmS ST. JOHNS 
wnmwN MirruR 



Photoplays Reviewed 

in the Shadow Stage 

This Issue 

Save this magazine — refer to 
the criticisms before you pick out 
your evening's entertainment. 
Make this your reference list. 

Page 68 

The Eternal City First National 

The Acquittal Universal 

Anna Christie First National 

Page 6o 

Long Live the King Metro 

Ponjola First National 

Flaming Youth First National 

Page jo 

The Virginian Preferred 

Unseeing Eyes Cosmopolitan 

His Children's Children. . . .Paramount 

Woman Proof Paramount 

The Common Law Selznick 

Richard the Lion-Hearted 

Associated Exhibitor- 
Page 71 

Pleasure Mad Metro 

The Darling of New York... .Universal 

Country Kid Warner Brothers 

The Drivin' Fool Hodkinson 

David Copperfield 

Associated Exhibitors 
Under the Red Robe . .Cosmopolitan 
Page 101 
On the Banks of the Wabash Vitagraph 

Held to Answer Metro 

The Temple of Venus Fox 

A Million to Burn Universal 

In Search of a Thrill Metro 

The Lone Ranger Avwon 

Blow Your Own Horn F. B. O. 

Page 102 

Our Hospitality Metro 

Big Dan Fox 

The Love Pirate . Film Booking Offices 

The Leavenworth Case Vitagraph 

Crooked Alley Universal 

The Way Men Love 

Grand-Ashur Prod. 

Men in the Raw Universal 

You Are in Danger. . Commonwealth 
Foolish Parents. . Associated Exhibitors 

The Barefoot Boy Commonwealth 

The Forbidden Lover Selznick 

The Monkey's Paw Selznick 

Modern Matrimony Select 



Copyright, 192". by the PHOTOPLAY PUBLISHING COMPANY, Chicaeo. 



Co n t e n t s — Continued 



Alice and Miss Terry Bland Johaneson 41 

The Dual Life of Mrs. Rex Ingram 

Natacha Valentino's New Wardrobe 42 

Paul Poiret Creates for Her Costumes of Bizarre Simplicity 

The Tiger Queen Mary Winship 45 

Aileen Pringle Is Elected by Elinor Glyn for the Leading Role 
in "Three Weeks" 

The Glare of the "Klieg" Lights Turns into the Fire- 
light's Soft, Warm Radiance William J. Moll 46 
Another Article on Home Decoration, Showing What Can Be 
Done with the Fireplace 

His Wife's Worst Faults 48 

As Depicted in Drawings by W. J. Enright 

Over the Top at Bunker Hill (Photographs) 49 

D. W. Griffith Leads the Heroes of the Revolution in the Film 
"America" 

Close-Ups and Long Shots Herbert Howe 50 

Comment on the Activities of Screen Personalities 

Extra! Extra! (Photographs) 52 

Broadway's Lights May Some Day Shine for These Younger 
Actresses of the Eastern and Western Studios 

Not in the Scenario (Fiction) 

Kathrene and Robert Pinkerton 54 

The Third Installment of This Remarkable Serial Story of a 
Motion Picture Company on Location 

Illustrated by R. Van Bur en 

What Chance Has a Man in Pictures? Herbert Howe 57 

The Answer Is Malcolm McGregor 
Athlete, Preacher, Actor Lucile N. Tate 58 

Fred Thomson Steps from the Pulpit to the "Lot" 
Rotogravure: 59 

Who Is Your Favorite Screen Beauty? 

Another List of Stars from Which to Make Your Selection 
Natacha and Rudie! (Photograph) 67 

Well, Almost, at Any Rate 
The Shadow Stage 68 

The Department of Practical Screen Criticism 
The Romantic History of the Motion Picture 

Terry Ramsaye 72 

Chapter XXII: A Titanic Struggle for Domination and Liberty 
Gossip — East and West Cal York 74 

Just an Old One-Reeler Martin J. Quigley 77 

A Picture That Was Not Made in Vain 
The Silver Crazy-Quilt 79 

"Stills and Titles" by Ralph Barton 

"Here's Roxey" Martha L. Wilchinski 80 

Why Should I Dress Up? 

As Related to Lucinda Reichenbach 80 

She Sets the Styles for the Stars 82 

Clare West Designs Those Elaborate Costumes You Admire 
Questions and Answers The Answer Man 85 

Is Edison Wrong? 88 

Twelve College Men Are Attempting to Prove That He Is 

Why Do They Do It? 109 

Screen "Breaks" Caught by Readers of Photoplay 

Friendly Advice Carolyn Van Wyck 129 

The Department of Personal Service 

Addresses of the hading motion picture studios 
will be found on page 12 



-**$)} 



What Kind 
of Women 
are Most 
Attractive 
toM 



en? 



A remarkable analysi- 
of feminine beauty and 
charm. What is it that 
attracts men most? Is it 
beauty? Is it charm? Or 
is it that intangible qual- 
ity that we call per- 
sonality? 

Have you ever noticed 
that the demure little girl 
without beauty, but who 
has been gifted with or 
who has cultivated person- 
ality, is a social and busi- 
ness success, that men are 
attracted to her, while her 
beautiful, well - groomed 
sister is completely over- 
shadowed? 

Herbert Howe 

who probably knows per- 
sonally more screen stars 
than anyone else in the 
world, with the possible 
exception of Adela Rogers 
St. Johns, has written an 
article for the next issue 
of Photoplay, in which 
he analyzes the attract- 
iveness of women, using 
as examples the outstand- 
ing feminine stars of the 
screen . 

Next issue of 

PHOTOPLAY 
MAGAZINE 

»j Out Jauttary 15 £ 



Photoplay M\«.\/i\i Advertising Section 



Again She Orders — 

'yi Chicken Salad , Please " 



^' , OR him slic is wearing her new frock. 
For li i in she is trying to look her pret- 
tiest. If only she can impress him— make 
lii in like her — just a little. 

Aoroas ilic table he smiles at her, proud of 
her prettiness, glad to notice thai others 
admire. And she smiles back, a bit timidly, 
a lut Belf-oonsciously. 

\\ 'hat wonderful poise he has! Whal com- 
plete self-possession! [f onl\ aht could be so 

thoroughly at ease. 

She ,iats the folds of her new frock ner- 
VOUSly, hoping that he will not notice how 

embarrassed she is, how uncomfortable. He 
doesn't — until the waiter comes to their 
table and stand >\ith pencil poised, to take 
the order. 

■' \ chicken salad, please." She hears her- 
self give the order as in a daze. She hears 
him repeat the order to the waiter, in a 
rather surprised tone. Why had she ordered 
that again! This was the third time she had 
ordered chicken salad while dining with him. 

He would think she didn't know how to 
order a dinner. Well, did she? No. She 
didn't know how to pronounce those French 
words on the menu. And she didn't know 
how to use the table appointment as grace- 
fully as she would have liked; found that she 
couldn't create conversation — and was actu- 
ally tongue-tied; was conscious of little crud- 
ities which she just knew he must be notic- 
ing. She wasn't sure of herself, she didn't 
blOW. And she discovered, as we all do, that 
there is only one way to have complete poise 
and ease of manner, and that is to know 
definitely what to do and say on every 
occasion. 

Are You Conscious of Your 
Crudities ? 

It is not, perhaps, so serious a fault to be 
unable to order a correct dinner. But it is 
just such little things as these that betray 
us — that reveal our crudities to others. 

Are you sure of yourself? Do you know 
precisely what to do and say wherever you 
happen to be? Or are you always hesitant 
and ill at ease, never quite sure that you 
haven't blundered? 

Everv dav in our contact with men and 



A Social Secretary 
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The Famous Book of Etiquette — 
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women we meet little un- 
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Etiquette is the armor 
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I accept your special bargain offer. You may send me 
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with order.) 



When you write to advertisers please mention PHOTOPLAY MAGAZINE. 



I 









Brief Reviews of Current Pictures 



ABYSMAL BRUTE, THE — Universal. — A 
woman-shy young man with a wallop in his right fist 
and a corne-hither in his eye, played by Reginald 
Denny in a way both manly and appealing. Jack 
London characters faithfully reproduced. This is a 
picture for everybody. (July.) 

AFFAIRS OF LADY HAMILTON, THE— Hod- 
kinson. — Lady Hamilton comes to a bad finish, but 
her road of life is not tedious by any means. Rather 
heavy German production. Not for children. (July.) 

ALIAS THE NIGHT WIND— Fox.— A man un- 
justly accused, vanishes. Pursued by detectives, he 
has many hairbreadth escapes, and is finally cap- 
tured by the blonde girl detective. That's all. (Octo- 
ber.) 

APRIL SHOWERS— Preferred.— Colleen Moore 
and Kenneth Harlan in a picture filled with old 
material. Not highly recommended. (November.) 

ASHES OF VENGEANCE— First National.— One 
of the first — and best — of the costume pictures. 
Norma Talmadge and Conway Tearle excellent. 
Should not be missed. (October.) 

BAD MAN, THE — First National.— Holbrook 
Blinn is as delightful in the picture as in the stage 
version. One of the most amusing films of the month. 
(December.) 

BAVU — Universal. — A gory tale of Bolshevic 
Russia, decidedly artificial. This doesn't apply to 
Wallace Beery, however, the double-dyed villain. 
Flappers may like the ultra-heroic Forrest Stanley. 
(July.) 

BILL — Paramount. — Not a story, but a wonderful 
study of a Paris pushcart peddler, done by Maurice 
Feraudy. Very much worth while. (November.) 

BLACK SHADOWS— Pathe.— A clever mixture 
of entertainment and instruction. Views of the 
strange people of the South Seas as they dance, swim 
and play. Colorful and interesting. (October.) 

BLINKY— Universal. — The best picture Hoot 
Gibson has had. The meek son of an army colonel 
enters the army and finds trouble. Lots of fun. 
(November.) 

BLUEBEARD'S EIGHTH WIFE— Paramount — 
Highly sophisticated and good entertainment with 
Gloria Swanson wearing gorgeous clothes as only she 
can. Put it on the preferred list. (October.) 

BOSTON BLACKIE— Fox.— The inside of the 
world's most disagreeable prison, with a happy end- 
ing that arrives just in time. (August.) 

BRASS BOTTLE, THE— First National.— A 
fantastic picture, amusing and well done. Sort of 
Arabian Nights entertainment. The Oriental pro- 
logue is especially line. Barbara La Marrand Ernest 
Torrcnce in cast. (October.) 

BRIGHT SHAWL, THE— First National— A 
pretty play of distinct atmospheric charm, a tale of 
Havana intrigue with Cuban strugglers for liberty on 
one side and soldiers of Spanish oppression on the 
other. Well acted by Richard Barthelmess, Dorothy 
Gisli. Jctta Goudal and William Powell. (July.) 

BROADWAY GOLD— Truart.— A formula pic- 
ture of the good little chorus girl, forced into marriage 
with a living rich man. He gels well, of course, caus- 
ing complications. A jazz party is well done. Just 
fair. {October.) 

BROKEN WING, THE— Preferred.— A story of 
Mexico and an American aviator who crashes through 
a roof into the- arms of a pretty girl. Moves rapidly 
and is interesting throughout. (September.) 

BURNING WORDS— Universal— The Canadian 

Mounted, and a trooper who gets his man. This time 
the man is a brother. (August.) 

CALL OF THE WILD, THE— Pathe.— A dog 
star. Buck, a beautiful St. Bernard, acts in a way that 
should shame a lot of humans. Fine for the family. 

(Pe.ember.) 

8 



CAMEO KIRBY — Fox.— A charming romance of 
the old Mississippi river boats, well told and well direc- 
ted. John Gilbert excellent in title role. A delightful 
evening's entertainment. (December.) 

CHAPTER IN HER LIFE, A— Universal— A 
child heroine is always abused and misunderstood, 
but sweetly forgiving. Rather saccharine, although 
well acted. (November.) 

CHEAT, THE— Paramount.— Pola Negri in a 
tragic story that starts slowly, but gains in interest. 
Miss Negri's acting better than the direction. Good 
entertainment and just misses being a big picture. 
(November.) 

CHILDREN OF DUST— First National.— A 
pleasant little story of old Gramercy Square, but 
with too much childish love-making. And then, at 
the end, the war is dragged in. (August.) 

CHILDREN OF JAZZ — Paramount. — A fast 
story, unique plot, quaint costumes and delightful 
photography. Altogether, good entertainment. 
(September.) 



AS a special service to its readers, 
Photoplay Magazine inaug- 
urated this department of tab- 
loid reviews, presenting in brief form 
critical comments upon all photoplays 
of the preceding six months. 

Photoplay readers find this depart- 
ment of tremendous help — for it is an 
authoritative and accurate summary, 
told in a few words, of all current film 
dramas. 

Photoplay has always been first 
and foremost in its film reviews. 
However, the fact that most photo- 
plays do not reach the great majority 
of the country's screen theaters until 
months later, has been a manifest 
drawback. This department over- 
comes this — and shows you accurately 
and concisely how to save your mo- 
tion picture time and money. 

You can determine at a glance 
whether or not your promised eve- 
ning's entertainment is worth while. 
The month at the end of each tabloid 
indicates the issue of Photoplay in 
which the original review appeared. 



CIRCUS DAYS— First National.— Jackie Coo- 

gan's new one. This shows the lovable boy star at his 
best and funniest. It is all Jackie, of course, but none 
the worse for that. (September.) 

CLEAN-UP. THE — Universal.— What Acton 
Davies. once a fatuous dramatic reviewer, used to call 
another one of those things." That describes it. 
(November.) 

CORDELIA THE MAGNIFICENT— Metro.— 
High society with everybody blackmailing everybody, 
even the heroine, who does it unconsciously, of 
course. Badly adapted story. (July.) 

CRITICAL AGE. THE— Hodkinson.— Another 
Ralph Connor Glengarry story, well told. Lacking 
in the original force anil spiritual element. {July.) 

CROSSED WIRES— Universal.— And yet another 
little Cinderella. She prefers sassity to the switch- 
board, and she achieves her heart's desire, not with- 
out some heart-throbs and much laughter. (July.) 

CUCKOO'S SECRET, THE— Bray.— They sav it 
took ten years to get this picture of the world's laziest 
bird. It is remarkably interesting and instructive. 
(September.) 



DANCER OF THE NILE. THE— F. B. O.— One 

of William P. S. Earle's experiments with painted s^ts 
and interesting on that account. Story' and acting 
not much. (December.) 

DAUGHTERS OF THE RICH — Preferred. — 
High society, American heiress, decadent Russian 
duke and so on. Some novelty, hut not much punch. 
Some of the settings are beautif u.. (September.) 

DAYTIME WIVES— F. B. O— At amusing pic- 
ture that glorifies the good little stenographer. Some- 
what preachy, but you can stand that. (November.) 

DAYS OF DANIEL BOONE. THE— Universal.— 
A serial with much interesting and historical value. 
Plenty of adventure and with many surprisingly real 
characters. (September.) 

DEAD GAME— Universal.— Hoot Gibson does 
some hard riding and fast thinking. (July.) 

DESERT DRIVEN— F. B. O.— The best picture 
Harry Carey has made for a long time. It starts in 
prison and ends in the desert after many adventures 
and a good love story. (September.) 

DESIRE — Metro. — Emotional drama, stating that 
in love extremes may meet. Good cast quite thrown 
away. (November.) 

DESTROYING ANGEL. THE— Asso. Exhibitor*. 
— Leah Baird in a picture that is frankly "movie 
stuff." She plays a dancer whose suitors meet evil 
fates. Good if you've nothing better to see. (No- 
vember.) 

DEVIL'S PARTNER. THE — Independent. — 
Absurd and artificial melodrama of the Great North- 
west. L T nimportant. (December.) 

DIVORCE— F. B. O.— Jane Novak is so beautiful, 
in this, that nothing else matters. Not even the plot. 
(August.) 

DOES IT PAY?— Fox.— Hope Hampton as a 
vampire who grabs all the valuables in sight. It isn't 
very good and it won't do for cluldren. (November.) 

DON QUICKSHOT OF THE RIO GRANDE— 

Universal. — A western that should have been a com- 
edy. The small boy's delight. {.August.) 

DON'T MARRY FOR MONEY— Apollo.— Still 
the formula — and this time an old one. This one 
used to work out, but picture patrons are wiser now- 
adays. Just a programme film, that's all. [.OcJober.) 

DOUBLE - DEALING — Universal. — A stupid 
young man buys property of a confidence man. and 
of course the property assumes a great value. Other- 
wise how could it all end so happily? (July.) 

DRIFTING — Universal. — Lots of excitement in 
this thriller, with Priscilla Dean playing a vivid demi- 
raondaine. Fine entertainment. (November.) 

DULCY — First National. — A stupid picture from a 
most amusing play. Showing the futility of trying to 
make a picture from conversation. (November.) 

EAGLE S FEATHER, THE— Metro.— An inter- 
esting Western, sonnwh.it marred by a straining for 
the "Happy ending." Mary Alden does beautifully. 
Worth seeing. (November.) 

ELEVENTH HOUR. THE— Fox.— Roaring melo- 
drama for the youngsters, Shirley Mason sharing 

starring honors with Charles Jones. Everyone who 
likes adventure will enjoy it. (OcJober.) 

ETERNAL STRUGGLE. THE — Metro. — A 
Northwest picture with Renee Adoree featured and 
justly so. Excellent story, cast and direction. 
(November.) 

ETERNAL THREE. THE— Goldwyn.— Not a 
great picture, but worth while because of Marshall 
Ncilan's production. (December.) 

EXCITERS. THE— Paramount.— A jazzy little 
comedy-melodrama with plenty of action and speed. 
Tony Moreno and Hebe Daniels at their best. Good 
entertainment. (August.) 

FAIR CHEAT, THE— F. B. O.— Rather hack- 
neyed story, with chorus girl as heroine. Stern 
father who relents and allows happy ending. Just 
so-so. (No:em!ier.) 

[ CONTINUED ON PAGE 10 ] 



Photoplay Magazine Advertising Section 




CHARLES RAT 

in. The Courtfhip of 

Myles Standifh 



IF you enjoy a story of thrilling adventure — a drama of love 
and courage — a romance of youth — then you'll sit spellbound 
when you see Charles Ray in "The Courtship of Myles Standish." 

Here is a picture which shows us the journey of the Pilgrims 
as it really was — a voyage full of peril and suspense — a fight 
against Indians, famine, and disease. And woven into this 
blood-tingling narrative is that famous love story from which 
the picture takes its title. Neither money nor time was spared 
by Charles Ray to produce "The Courtship of Myles Standish." 
It is both magnificent and beautiful — a masterpiece among 
super-productions. 

And what other actor could so perfectly portray the role of 
John Alden? In giving us a vibrant flesh and blood portrait of 
this brave fighter — true lover — a friend among friends — Charles 
Ray does the finest work of his career. 

What "The Birth of a Nation" did for the South, "The Cov- 
ered Wagon" for the West, "The Courtship of Myles Standish" 
does in equally thrilling measure for the founding of America. 
Ask when it will be shown at your favorite motion picture theatre. 




A glimpse of that memorable scene where 

Priscilla speaks "Words so gentle, yet so 

cruel, 'Why don't you speak for yotirsrlf, 

John't" 

Produced by 

CHARLES RAY PRODUCTIONS 




Directed by Frederic Sullivan 
Presented by 

ASSOCIATED EXHIBITORS 

Arthur S. Kane, President 

35 West 45th Street, New York City 

Physical Distributors, Pathe Exchange, Inc. 



This is^n 

Encore 
Picture 



wr'.ic to advertisers p'ease CCTItlon rHOTOPI..«.T M.\C.\7I\"!:. 



I o 



Photoplay Magazine — Advertising Section 




He believes He in 
in Luck Himself 

At the Age of 20 




in Luck? 



Thousands waste the best years of their 
life waiting for some "stroke of luck" to 
make them successful.^ Two men starting 
exactly alike as babies with the same 
kind of attention — then as boys with the 
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life — and then after the final test as 
men, one is a failure, 
At the Age of 2 the other a big suc- 
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indeed. 

Luck vs. Self 

The one who succeeded 
believed in himself. He 
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other fellow — the failure 
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There Is No 
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Luck is exactly what you 
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— get." The more you go 
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Take action and make 
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Now take the first and 
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the coupon. This puts 
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you. 

American School 

Drexel Ave. & 58th St. 
I>cpt. CL17] Chicaxo 

<?) A.S. 10.?.? 



W % 

He still -and He In 
believes Himself 

in Luck 

At the Age of 30 




m \ 

Beginning Sure of 
to doubt Himself 

His Luck 

At the Age of 40 




ABIft 
Success 



At the Age of GO 




* \ 

Down and Well 
Out Provided 



American School, Dept. C-171 

Drcxcl Ave. & 58th St. Chicago 

Send me full information on how I can best suc- 
ceed in 

(Write in here what line of work or profession 
you like best) 

This request is to put me under no obligation 

a nd DO agents are to bother me. 

Name 



Address 

(Use margin of this magazine if you need more space 
to write) 



Brief Reviews of Current Pictures 



[ CONTINUED FROM PAGE 8 



FIGHTING BLADE, THE — First National.— 
Richard Barthelmesa as a Cromwellian hero. A 
pretty good picture, but by no means one of his best. 
(December.) 

FIGHTING BLOOD— (Second Series)— F. B. O. 
— Prize fight stuff, of course, with a new and blonde 
leading woman for the O'Hara boy. About the usual 
prize ring serial. (October.) 

FIGHTING STRAIN, THE— Steiner.— Badly 
written, acted and produced. (November.) 

FLYING DUTCHMAN, THE— F. B. O— An un- 
usual picture which follows very closely the Wag- 
nerian opera of that name. The tragic legend is well 
told and photographed, with Ella Hall doing good 
work. (October.) 

FOG, THE — Metro. — A story of small-town ethics 
with the "how his soul was saved" angle played up. 
The cast is good, but the direction poor. (September.) 

FOG BOUND— Paramount. — One of the formulas. 
Innocent man accused — lovely lady saves him. Good 
cast, fine photography. Palm Beach settings, and 
conventional ending. (August.) 

FOOLS AND RICHES— Universal.— The hand- 
some hero and his money are soon parted, but being 
a hero he wins another fortune, and being handsome 
wins the girl. (July.) 

FORGIVE AND FORGET— Apollo.— The banal 
title is the worst thing about this picture. It's an 
effective melodrama, well acted and well directed. 
(December.) 

FRENCH DOLL, THE— Metro.— Mae Murray in 
a typical Mae Murray picture — legs, lingerie and 
lure. Also she's very Parisienne. (November.) 

GARRISON'S FINISH— United Artists.— The 
old, hackneyed race track story, with the Southern 
colonel, the doped horse 'n' everything. Jack Pick- 
ford has the lead. Race scenes the best. (August.) 

GENTLEMAN OF LEISURE, A— Paramount.— 
The story drags at the start, but picks up speed and 
becomes rapid and interesting. Jack Holt is fea- 
tured, but the best acting is by Frank Nelson as a 
burglar. Above the average. (October.) 

GIRL FROM THE WEST. THE — Aywon. — 
Commonplace and inane imitation of "Merton." A 
waste of time. (December.) 

GIRL I LOVED, THE— United Artists.— We 
recommend this without a single qualification to the 
entire family. It deserves your attention. A 
fragile wistful little lyric inspired by J. Whitcomb 
Riley's poem of a country boy who loves his foster 
sister. Ray gives one of the best performances of 
the screen year, superb in its humanness and tender- 
ness. We cannot recommend it too highly. (July.) 

GIRL OF THE GOLDEN WEST, THE— First 

National. — Another return engagement, but the fine 
old story marred by difficulties of casting. Warren 
Kerrigan and Sylvia Breamer the leads. (August.) 

GIRL WHO CAME BACK. THE— Preferred.— 

The dear girl doesn't come back, really, but she does 
get diamonds and two husbands. So everybody's 
happy, unless possibly the audience. (July.) 

GO-GETTER, THE— Paramount-Cosmopolitan. 
— The Go-Getter has lost much of his pep passing 
from magazine to screen, but it is a pleasant, well- 
round narrative for a' that. (July.) 

GOING UP — Associated Exhibitors. — One of the 
most amusing of recent comedies, with Douglas 
MacLean at his best. Laughs for the family. (De- 
cember.) 

GOLD DIGGERS, THE— Warner Brothers.— 
Sophisticated photodrama of New York. Chorus 
sirls and their admirers not so black as usually 
painted. Good entertainment. (November.) 

GOLD MADNESS— Renown.— A verbose and 
cloudy piece of work, with Guy Bates PoSl BS star. 
Hardly worth while. (Daember.) 

GRAIL, THE— Fox.— A Well made and well 

played picture, but somewhat lacking in plot. It's 

more or less of a Western and is entertaining. (No- 
vember.) 

GREEN GODDESS, THE— Distinctive.— George 
Arliss in a screen version of his famous play, which is 
as good .is tin- stage version. One of the best of the 

season. (October.) 

GUN FIGHTER, THE— Fox.— A feud picture 
with William Farnum in the midst of it. enjoying him- 
self thoroughly. The title describes it. (November.) 

HALDANE OF THE SECRET SERVICE — 
Apollo. — Houdini as a detective cleaning up a gang of 
counterfeiters. Amateurish, but with some good 
Houdini stunts. (December.) 



HEART RAIDER, THE— Paramount.— Jazzy 
and often amusing, with Agnes Ayres setting the 
pace. An unbelievable story, but set in beautiful 
surroundings. (August.) 

HELL'S HOLE— Fox.— Straight Western melo- 
drama with Lefty Flynn and Charles Jones as cow- 
puncher buddies. Excitement is fast and furious. 
Good entertainment and a trick ending. (October.) 

HER FATAL MILLIONS— Metro.— A swiftly 
moving comedy of a girl's fibs — Viola Dana's — to a 
suitor whom she believes faithless. (July.) 

HIGH LIFE — Educational. — A Mermaid comedy 
with Lige Conley starred. A lot of old tricks, but 
rather well done. (November.) 

HIS LAST RACE— Phil Goldstone.— Robert 
McKim as a most villainous villain in a Bertha M. 
Clay story. Full of "movie stuff," but most excit- 
ing. (November.) 

HOMEWARD BOUND— Paramount.— Thomas 
Meighan as a salty hero in a lot of storms. Story is 
unconvincing and commonplace, and there is never 
any doubt that Thomas will embrace Lila Lee at the 
close. (October.) 

HOLLYWOOD— Paramount.— Dozens of the pic- 
ture stars shown unconventionally to prove they are 
just humans after all. A rattling good picture, with 
lots of laughs and interest. (October.) 

HUMAN WRECKAGE— F. B. 0.— Mrs. Wallace 

Reid's film protest against the drug evil. Not a 
cheery story, but one that will touch the heart and 
may do an immense amount of good. (September.) 

HUNCHBACK OF NOTRE DAME, THE— Uni- 
versal. — A magnificent screen spectacle, with Lon 
Chaney, in the title role, contributing another of those 
diabolically fascinating portrayals for which he is 
famous. The sets are marvelous. A picture of a 
class seldom equalled. (November.) 

HUNTRESS, THE— First National.— A very good 
entertainment, with plenty of comedy and excite- 
ment. Colleen Moore fine in title role. (December.) 

IF WINTER COMES— Fox.— A remarkably fine 
piece of work, but brimming with tears. It follows 
the Hutchinson novel closely, ana Percy Marmont as 
Mark Sabre does the best acting of lus notable career. 
(November.) 

IS CONAN DOYLE RIGHT?— Pathe.— A pic- 
torial expose of the tricks of the fake spiritualistic 
mediums, more effective than the many which have 
been made in type. Interesting whether or not you 
believe Conan Doyle right. (December.) 

ITCHING PALMS— F. B. O.— Melodrama, stupid 
and badly told. (September.) 

KNOCK AT THE DOOR, A— Johnnie Walker — 
The film lasts one hour and ends just where it began. 
Much ado about nothing. (November.) 

LAWFUL LARCENY— Paramount.— Most of the 
interest is in the production which is extremely lavish. 
Story is weak, but most of the acting is competent. 
Fairly good entertainment. (October.) 

LAW OF THE LAWLESS, THE— Paramount.— 
A colorful drama of the gypsy borderland between 
Asia and Europe, with Dorothy Dalton and Charles 
De Roche in suitable roles. (September.) 

LEGALLY DEAD — Universal.— Theatrically un- 
leavened, wit h adrenalin used to bring a dead man back 
to life. Not so much, except for the acting of Milton 
Sills. (October.) 

LIGHTS OUT— F. B. O— A melodrama of the 
underworld and motion pictures with a clever idea 
and a lot of suspense. Worth seeing. (December.) 

LITTLE JOHNNY JONES— Warner Brothers — 
Johnny Hines is very good in this George M. Cohan 
success. Realistic sets and a good horse race help a 
lot. Several novelties. Good entertainment. (Oct.) 

LITTLE OLD NEW YORK — Cosmopolitan— A 
charming picture with Marion Davies doing the best 
acting of her career. Well acted, beautifully staged 
and competently directed. (October.) 

LONE STAR RANGER. THE— Fox.— Tom Mix 
and Tony, his horse, have a lot mere adventures, 
defying a great deal of death. A good Mix picture 
and fine for the boys. (November.) 

LOST IN A BIG CITY— Arrow.— Action all the 
time. The story doesn't amount to much, but there 
is so much going on. you don't mind that. A formula 
picture, but a good formula. (October.) 

[ CONTINUED ON PAGE 12 J 



Every advertisement in PIIOTPPLAT MAGAZINE is guaranteed. 



Photoplay Magazine — Advertising Section 



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THE MANY BIG ONES V 

Thomas H. I nee 

presents 

ANNA CHRISTIE 

Adapted by Bradley King from Eugene 
O'Neil'sPulitzerprize play and directed 
by John Griffith Wray under the per- 
sonal supervision of Thomas H. Ince. 

Samuel Goldwyn 
(Not now connected with Gold- 
wyn Pictures) 
presents the 
GEORGE FITZMAURICE 

production 

THE ETERNAL CITY 

Scenario by Ouida Bergere from the 
story by Sir Hall Caine 

Joseph M. Schenck 
presents 

NORMA TALMADGE 



The Woman of Sahara 

BLACK OXEN 

A FRANK LLOYD 

production with 

Corinne Griffith and Conway Tearle 

From Gertrude Atherton's famous 



novel 






FIRST NATIONAL MONTH 



JANUARY 1 - 31 , 1924 

Celebrated At Your Favorite Theatre 




When you write to advertisers please mention PHOTOPLAY MAGAZINE. 



I 2 



Photoplay Magazine — Advertising Section 



Studio Directory 

For the convenience of our readers 
who may desire the addresses of film 
companies we give the principal active 
ones below. The first is the business 
office; (s) indicates a studio; in some 
cases both are at one address. 

ASSOCIATED EXHIBITORS. INC.. 35 West 45th 
Street, New York City. 

Douglas MacLean. 6643 Santa Monica Blvd., 

Los Angeles, Calif. 
Chas. Ray Productions, 1425 Fleming St., 

i. os Angeles, Calif. 
Mack Sennctt Productions. 1712 Grendalc 
Blvd., Los Angeles, Calif. 

ASSOCIATED FIRST NATIONAL PICTURES. 
383 Madison Ave., New York City. 

Richard Barthelmess Productions. Inspiration 

Pictures, 565 Fifth Ave., New York City. 
Edwin Carewe Productions. Associated First 

Nafl Pictures, 619 Pacific Finance Bldg., 

Los Angeles, Calif. 
Thomas H. Ince Productions, Ince Studios. 

Culver City, Calif. 
Norma and Constance Talmadgc Productions. 

United Studios. Hollywood. Calif. 
Maurice Tourneur Productions, United 

Studios, Hollywood, Calif. 

EDUCATIONAL FILMS CORPORATION, 370 
Seventh Avenue. New York City. 

Christie Comedies. Christie Film Co.. Inc., 

Sunset at Cower St.. Los Angeles. Calif. 
Hamilton Comedies. Lloyd Hamilton Corp.. 
5341 Melrose Avenue, Hollywood, Calif. 
Mermaid Comedies. Jack White Corp., 5341 
Melrose Avenue, Hollywood, Calif. 

FAMOUS PLAYERS-LASKY CORPORATION 
(PARAMOUNT), 4S5 Fifth Avenue, New York 

(s) Paramount, Pierce Ave. and Sixth St., 

Long Island City, N. Y. 
(s) Lasky, Hollywood, Calif. 
British Paramount, (s) Poole St., Islington, 

N. London, England. 
Wm. S. Hart Productions, (s) 1215 Bates 

Street, Hollywood, Calif. 

FOX FILM CORPORATION, (s) 10th Ave. and 
55th St., New York City, (s) 1401 N. Western 
Ave., Los Angeles, Calif, (s) Rome, Italy. 

GOLDWYN PICTURES CORPORATION, 469 
Fifth Avenue, New York City; (s) Culver City, 
Calif. King Vidor Productions and Hugo Ballin 
Productions. 

International Films. Inc. (Cosmopolitan Pro- 
ductions), 729 Seventh Avenue, New Y'ork 
City: (s) Second Avenue and 127th St., 
New York City. 

W. W. HODKINSON CORPORATION, 469 Fifth 
Avenue, New Y'ork City. 

METRO PICTURES CORPORATION, 1540 
Broadway, New Y'ork City; (s) Romalne and 
Cahuenga Avenue, Hollywood, Calif. 

Tiffany Productions, 1540 Broadway, New 

York City. 
Buster Keaton Productions, Keaton Studio, 

1205 Lillian Way. Hollywood. Calif. 
Jackie Coogan, United Studios, Hollywood, 
Calif. 

PALMER PHOTOPLAY CORPORATION. Palmer 
Bldg., Hollywood. Calif., Producing at Thos. 
H. Ince Studios. Culver City, Calif. 

PATHE EXCHANGE. Pathc Bldg., 35 West 45th 
Street, New York City. 

Harold Lloyd Corporation, 6642 Sunset Blvd., 

Hollywood, Calif. 
Hal. E. Roach Studios, Inc., Culver City, 

Calif. 
Mack Sennctt Comedy Productions, Los 
Angeles, Calif. 

PREFERRED PICTURES. 1650 Rroadway, New 
York City; (s) Mayer-Schulberg studio. 3S00 
Mission Road. Los Angeles. Calif. Tom Formal). 
Victor Schertzlnger and Louis J. Gasnicr Pro- 
ductions. 

PRINCIPAL PICTURES CORPORATION. 1540 
Broadway, New York City; (s) 7200 Santa 
Monica Blvd., Los Angeles, Calif. 

R-C PICTURES CORPORATION, 723 Seventh 
Avenue, New York City; (s) Corner Cower and 
Melrose Streets, Hollywood, Calif. 

ROTH ACKER FILM MFG. COMPANY, 1330 
DWersey Parkway, Chicago, Illinois; Itolhackcr- 
Aller Laboratories. Inc., Hollywood, Calif. 

united artists corporation". 729 Seventh 
Avenue. New York City, 

George Arllss Productions, Distinctive Prod.. 
3(16 Madison Avenue, New York City. 

Rex Beach Productions, United Artists Corp.. 
729 Seventh Avenue. New York City. 

Charlie Chaplin studios. 1116 LaBrea Ave., 
Hollywood, Calif. 

D W. Griffith Studios, Orlentii Point. Maitiar- 
oneck, \ X 

Jack Plckford. Mary Plckford Studio. Holly- 
wood. Calif. 

Mary plckford and Douglas Fairbanks 
Studio. Hollywood, Calif. 

UNIVERSAL FILM MFC COMPANY, 1600 

Broadway, New York City; (s) Universal City, 

Calif 

c 'eiitin x < 'omedles, ( 'irele lllvd , HollJ Wood, 
Calif. 

VITACRAPII COMPANY OF AMERICA, (s) 
East i'>tii street and l.oenst Avenue. Brooklyn, 
New York: (si 1 70S Talmadgc Street. Hollywood. 
Calif. 

WARNER BROTHERS, 1600 Broadway. New York 
City: (s) Sunset Blvd. at Bronson. Los Angeles. 
Calif. 



Brief Reviews of Current Pictures 



CONTINUED FROM PAGE IO 



LOVEBOUND— Fox.— A well-knit, consistent 
story, with strong climaxes, of a districtattorney who 
falls in love with his secretary. The girl's father is a 
jewel thief, and the conflict between her loyalty to 
father and love for prosecutor is well-developed. 
Shirley Mason draws sympathy. (.July.) 

LOVE BRAND, THE— Universal.— Spanish ranch 
owner, gang of crooked capitalists, beautiful daughter 
of rich man loves rancher, and plot fails. All right, 
if you like that kind. (October.) 

LOVE PIKER, THE— Cosmopolitan-Goldwyn.— 
Anita Stewart in the old tale of the girl who loves her 
father's employee. A good story, with Miss Stewart 
doing some fine acting. (September.) 

LOVE TRAP, THE— Apollo.— Melodrama filled 
with complications, detectives and dictaphones. Good 
idea, but hurt by not holding to main theme. (De- 
cember.) 



ONLY 38— Paramount.— A delightful handling by 
William de Mille of a most appealing story. Loir 
Wilson's role fits her admirably, and May McAvoy is 
a great help. (August.) 

OUT OF LUCK— Universal— Hoot Gibson as a 
young cowpuncher transferred to the navy creates a 
lot of fun. There are many laughs and much excite- 
ment Good entertainment. (October.) 

POLIKUSCHKA — Russian Artfilms. — A well 
made picture, but morbid and sad. No chance for a 
pleasant evening of laughter here. Tragedy on 
tragedy. (December.) 

PENROD AND SAM— First National.— One of 
the entertainment gems of the month. Real boys 
with a story handled by William Baudine, who re- 
members that he was once a boy. Don't miss it if 
you enjoy kids. (August.) 



LOYAL LIVES— Vitagraph.— Propaganda for the PETER THE GREAT — Paramount.— Another 
letter carrier. A simple story, filled with pleasant foreign film, with that truly great actor, Emil Jan- 
hokum and kindly folk. Mary Carr excellent. Clean nings. in the title role. This is a real picture and one 
and interesting. (October.) that should not be missed. (September.) 



MADNESS OF YOUTH— Fox— An engaging 
crook enters a home to rob a safe, meets the daughter 
of his victim, etc. Marriage and honor in the end. 
John Gilbert is sincere and witli Billie Dove makes 
the affair almost plausible. (July.) 

MAIN STREET— Warner Brothers.— A difficult 
story to screen and, therefore, not an entirely satis- 
factory picture. Starts off well, but slumps at the 
end. Florence Vidor the great redeeming feature. 
(August.) 

MAN NEXT DOOR, THE— Vitagraph.— Not 
good. Story is illogical, and acting and direction both 
below standard. A dog wins the honors. (August.) 

MAN OF ACTION, A— First National.— Likable 
Douglas MacLean as a society man playing a crook. 
Interesting, but incongruous. Perhaps, some day, 
MacLean will get a real story. Then, look out. 
(August.) 

MARK OF THE BEAST, THE— Dixon- 
Thomas Dixon wrote, cast and directed this as a 
challenge to "machine-made pictures." The ma- 
chine wins. (August.) 

MARRIAGE MAKER, THE— Paramount.— The 
story is based on "The Faun." Fantastic and quite 
interesting. (December.) 

MARY OF THE MOVIES— F. B. O.— Again the 
Hollywood stars trailing by in a story of a screen- 
struck girl. That is the only interest. The story is 
weak. (August.) 

McGUIRE OF THE MOUNTED— Universal.— 

Another Northwest Mounted Police story, with the 
usual dauntless hero. Plenty of action and interest- 
ing to those who like these stories. (September.) 

MERRY-GO-ROUND— Universal.— One of the 

best pictures in months. A Viennese story, with the 
atmosphere capitally maintained, and exceptionally 
well acted. (September.) 

MICHAEL O'HALLORAN — Hodkinson. — The 
too-sweet story of a Chesterfieldian street urchin, 
who shows a lot of rich folk how to behave. (August.) 

MIDNIGHT ALARM, THE— Vitagraph.— Plen- 
ty of action but not the slightest probability. Every- 
thing happens, virtue is rewarded and vice punished. 
(November.) 

MIRACLE BABY, THE— F. B. O.— Not much 

miracle, but a nice baby. Harry Carey up in the gold 
mines, a murder, a false accusation and, finally, vin- 
dication. Formula again. (October.) 

MONNA VANNA— Fox.— Would have been better 
if not so heavy. Crowd scenes are well done, and Lee 
Parry in title role is charming. Only fair. (December.) 

MOTHERS-IN-LAW— Gasnier.— Many dresses 
cut short, top and bottom, jazz parties, lots of glitter 
- t he usual thing. Not highly recommended. (Octo- 
ber.) 

MYSTERIOUS WITNESS.THE— F.B.O.— M< m 
formula Stuff. The sweet and ailing mother, the sclf- 
s... rile, in— son and the rest of it Si.-ki ninglv sweet. 

(September.) 
NE'ER-DO-WELL, THE— Paramount. — Not 

altogether successful, nor altogether uninteresting, 
for Thomas Meighan is in it. Old-fashioned. (July.) 

NOISE IN NEWBORO. A— Metro.— Cinderella of 

the small town goes to the city and eonies home rich. 
Viola Dana gingers up this weak concoction. (July.) 

NTH COMMANDMENT. THE — Paramount- 
Cosmopolitan. — The brave little girl struggles to 
maintain her home when her husband falls desperate- 
ly ill. The human note is missing: [July.) 

OLD SWEETHEART OF MINE. AN— Metro.— 
J. WhitComb Riley's poem screened with considerable 
charm ami touches of melodrama, (July.) 



POTASH AND PERLMUTTER— First National. 
— As funny on the screen as on the stage, with Barney 
Bernard and Alex Carr in their original roles. Always 
interesting and filled with hearty laughs. (November.) 

POWER DIVINE, THE— Independent.— Another 
Kentucky feud, proving that where there's love there's 
hope. Nothing to get excited about. (November.) 

PRODIGAL DAUGHTERS — Paramount. — 
Another tirade against the jazz babies of 1923. This 
time it is adapted to the girl who leaves the old home- 
stead only to return in the snowstorm of Christmas- 
time. (July.) 

PRODIGAL SON. THE— Stoll Film Corp. — 
Steeped in the gloom of church yards and death- 
beds, lost loves and debts. (July.) 

PURITAN PASSIONS— Hodkinson.— A screen 
version of "The Scarecrow," delicate and fanciful. A 
charming production, but perhaps a little fanciful to 
please generally. (November.) 

PURPLE HIGHWAY'. THE — Paramount. — 
Rather a silly plot with overdrawn situations. Madge 
Kennedy is sweet as a little housemaid and is mostly 
wasted. Tiresome picture. (October.) 

RAGGED EDGE, THE— Goldwyn.— A Harold 
McGrath romance, with a lot of new blood in the cast. 
From China to the South Seas. (Augus:.) 

RAILROADED — Universal. — A lesson in how 
wayward sons should, and should not, be disciplined. 
Love finds a way. (A ugust.) 

RAMBLIN' KID, THE— Universal.— Another 
Hoot Gibson picture, fully up to his amusing and 
interesting standard. Lots of riding and excitement. 
(December.) 

RAPIDS, THE — Hodkinson. — A conventional 
story' of the building of a town by a man with brains 
and foresight. The steel plant scenes are excellent. 
(September.) 

RED LIGHTS — Goldwyn.— A corking good mys- 
tery picture, filled with excitement and thrills. Ray- 
mond Griffith scores again. (November.) 

RED RUSSIA REVEALED— Fox.— Half scenic 
and half educational. Shows the heads of Soviet 
Russia, a revolting group, but worth study. 
(September.) 

REMITTANCE WOMAN. THE— F. B.O.— Ethel 
Clayton's loveliness shines out from the dim and 
mystic East, where Ethel gains a sacred vase and 
nearly loses her life. (July.) 

RICE AND OLD SHOES— F. B. O— A comedy of 
the honeymoon, with all the old situations worked 
overtime. (.1 ugHSt.) 

RIGHT OF THE STRONGEST, THE— Zenith — 
A story of the Alabama hills with E. K. Lincoln in the 
leading role. Good entertainment, with a great fight 
between Lincoln ami George Siegmann. (December.) 

ROSITA— United Artists— The picture is as 
dainty and charming as the star — Mary Pickford — 
herself. Beautiful sets and photography, and the 
direction proving why Ernst I.ubitsch has such a high 
reputation. One of the best. (November.) 

ROl'GED LIPS— Metro. — Charming Viola Dana 
as a good little chorus girl is delightful. The picture 
starts slowly, but gathers speed. Good entertain- 
ment. (Noiember.) 

RUGGLES OF RED GAP— Paramount.— A high- 
ly amusing comedy, the locales being a Western "cow 
town" and a Hollywood Paris. Ernest Torrence and 
Edward Hoi ton provide the bulk of the many laughs. 
(November.) 

RUNNING WILD — Educational.— A comedy film 
built around the game of polo. Hated rivals on 
opposing teams. That's about all. (November.) 



r-.tv advertisement in PHOTOPLAY MAGAZINE is c'larantecd. 



Photoplay Magazine Advehtising Section 



RUPBRT OF ill \ rZAU Selinlck \ 
romantic tale, with lot* ol ew Itement and thrilli, but 
Inthon) Hope pi " I he 

■ ol Zenda." {.September.) 

RUSTLE OF mi k. i m Paramount.— The 

■ ni .i Hi i i i -.ii itateunan, ins unfaithful wife 
and an adoiina tady'i maid, who I" teaman 
iikiiv afar, Ian i much ,>i drama. Hut told with fine 

i,-ii. it, ti 
NUaaon and Conwaj rearle excellent. (July.) 

8AL08C1 IANI Paramount Bret Harte' 

famous rxory made into an ordinary \\- 

line Logan make* it worth while, but not foi 
children. (November.) 

SAWDUST — Universal. — l'< iliam, 

itartlng with .< circus and ending up in one ol 
palatial home* .iiul .in attempted suicide. (September.) 

SBCR] r ok i.ikk, THB— Principal Picture*.— 
Tin- private Uvea ol beea, .mis and bug* laid bai 
new photographic proceaa. Extremely Inten 
(Nummbu .) 

SECOND-HAND LOVE— Fox.— A picture of 
small to«n lit.- tor i in- unall town, Buck Junes In i 

Charles Ray roll-. \.\ovember.) 

sc VK \MOUCHE— Metro.— One of the Rrc.it 
pictures ol the year. The acting ol Lewis Stone and 
Ramon Novarro, and the direction of Rex Ingram 

have turned out a masterpiece. Don't m] 
(Peicmber.) 

SELF-MADE WIFE. THE— Universal.— Three, 
fourths of this picture is good. The end falls badly. 
Vbo anneceesarOy, just to work in a jazz party. 
(September.) 

SHADOWS OF THE NORTH— Universal.— 

William Desmond as a miner who fights off claim 

jumpers. Happy ending, after a good fight and some 

shots of a canoe in the rapids. Fast melodrama. 

(October.) 

SHATTERED REPUTATIONS— Lee Bradford 
—Mediocre picture, artificial and badly acted' 
(Xcnember.) 

SHOCK, THE— Universal.— Another hideously 
clever characterization by Lon Chaney as a cripple of 
the underworld. The miracle idea is brought in 
again. Strong, but unpleasant — and, of course, with 
a happy ending. (August.) 

SHOOTIN' FOR LOVE— TTniversal.— Shell shock 
is the underlying theme of a swift Western. The hero, 
back from the war, walks into a feud which is fully as 
exciting. (September.) 

SHORT SUBJECTS — Educational. — One and 
two-reel novelties, grouped together in interesting bill. 
"Kinograms," a Bruce scenic, "Speed Demons," 
Gene Sarazen demonstrating golf, and two comedies. 
(September.) 

SHIFTING SANDS— Hodkinson.— Desert stuff, 
camels against the sky and the other usual thtngs. 
Sand storms, bandits and much excitement, but not 
much of a picture. (December.) 

SILENT COMMAND, THE— Fox.— A story of 
the navy. Propaganda type of picture. A good 
narrative of the sea, well told. For the family. 
(November.) 

SILENT PARTNER, THE— Paramount.— An in- 
teresting story, well done except that the suspense is 
not well sustained. Leatrice Joy excellent. (No- 
vember.) 

SIX DAYS — Goldwyn. — Lovely Corinne Griffith 
in a unique and absorbing story- Lots of excitement, 
a remarkably good cast and direction. Very fine 
throughout. (November.) 

SIX-FIFTY, THE— Universal.— A train wreck 
near the old homestead" sends wife to the city to see 
life. But she comes back. Nothing very original, 
but fair entertainment. (November.) 

SIXTY CENTS AN HOUR— Paramount.— An 
ambitious soda clerk plans to marry the daughter of 
the bank president, and go into business — all on 
seven-fifty a week. A riot of laughter. (July.) 

SKID PROOF— Fox.— A racing picture after the 
style that Wally Reid made famous. Crooked driver, 
honest boy takes his place — you know the rest. 
Action is fast and picture runs smoothly. (October.) 

SLANDER THE WOMAN— First National — 
And still the formula! Beautiful heroine, wrongfully 
accused, goes to the Frozen North. There, in the 
great, open spaces, things happen. Mostly, good 
photography. (A ugusl.) 

SNOW BRIDE. THE— Paramount.— A forced and 
artificial story of life in a Canadian village. Alice- 
Brady, even, fails to register. (August.) 

SNOWDRIFT— Fox.— A cooling Summer picture, 
with lots of ice and snow. A little waif, missionaries, 
Indians, impossible happenings. Marries a reformed 
gambler for the fade-out. (August.) 

SOCIAL CODE, THE — Metro.— A "find the 
woman" melodrama with Viola Dana as a society 
butterfly and not so good as usual. Could have been 
a good picture, but isn't. (November.) 

SOFT BOILED— Fox.— Tom Mix and Tony in a 
new type of comedy. Slight story, but plenty of 
action. One fight, in a shoe store, is exceptionally 
funny. Good, if you like Mix pictures. (October.) 

[ CONTINUED ON PAGE 1 7 ] 



cNow 
broduantr for 

Warner 

'Brothers 

CHassks/m 
Jcmui 




JBavid Seksco's 

TIGERROSF 

Starring 

1EN0REULRIC 

<Dt Sidnetf^htuiklin 

Production, 
Jworudltf directed by 
Sidney Cj tyrankkru 



Sidney Franklin is the 
advance spirit of American 
progress in motion pictures. 

His latest achievement — 
Warner Bros.' screen version 
of David Belasco's master- 
piece, "Tiger Rose," starring 
Lenore Ulric. 

"Tiger Rose" places Franklin 
among the few notable and 
outstanding producers in the 
motion picture industry. 

"Tiger Rose" is an extra- 
ordinary picture— delightful- 
ly human and entertaining. 

Coming soon ! Watch for it! 




Classics of the Screen 



Ww/i ROMANIC 
comes foTIGtrxROSE* 




/fesiSTlNG HER. 
LOVER'S ARREST 




THIRD DEGREE'' 



.J 



When you writ* to advertisers please mention PHOTOPLAY MAGAZINE. 



A Protest (?) 

Photoplay Magazine has received a num- 
ber of letters during the past few weeks 
berating the editor because of an article pub- 
lished in the November issue, entitled "Who 
and What is Hope Hampton? Is she a star? 
Is she an actress? Has she any following? 
Does the public want her? Will the public pay 
to see her pictures? Why is she featured above 
Lew Cody, Nita Naldi and Conrad Nagel? " 

The similarity shown in these letters, not 
only in tone, but also in their wording and in 
some expressions, aroused the suspicion that 
they were inspired. With these letters of 
protest came a number from other readers of 
Photoplay, stating that they had been asked 
to protest, but saw no reason to do so. En- 
closed in several of these letters were copies of 
a form letter sent apparently to hundreds of 
motion picture fans, requesting them to write 
to the editor of Photoplay and object to the 
article. It is because of these form letters that 
none of the letters of protest are published. 

Here is a copy of the form letter: 

1 214 Laurel Avenue, 
Hollywood, California. 
My Dear Club Friend: 

Have you read the November issue of 
Photoplay? If you did, you noticed — first of 
all, no doubt — the venomous article about 
OUR Hope Hampton in which the magazine 
went out of its way to say unkind and unfair 
things about a star whose recent work deserves 
only the highest praise — Our Hope. We have 
received numerous letters from club members 
complaining about the unfairness of Photo- 
play, and their apparent prejudice — doubtless 
a personal one, and one that has no business 
entering a fan magazine from a professional 
standpoint. Nor from a personal standpoint, 
for that matter, since Hope Hampton is above 
reproach in every respect. 

Shirley and I both know Hope Hampton in- 
timately. Hope is one of our dearest personal 
friends, and we have had every opportunity of 
seeing her as she is; seeing her as a gay, wide- 
awake girl — alive with brilliancy, sincere in her 
admiration for true friends, and warm with the 
love of those who know her best and admire 
her most. Hope is everything that her truest 
friends think of her — she lives up to every ex- 
pectation of a lady, a real actress, and a loyal 
friend. I'll admit that I am cross, and thor- 
oughly disgusted with the unfairness of Photo- 
play. It seems to me that they are fully 
deserving of the hammer, and it is therefore up 
to us (as loyal friends of Hope Hampton, and 
at the same time as a supporting club) to write 
Mr. James R. Quirk, Editor of Photoplay, and 
protest most strenuously against the foul play 
he has so willingly dished out. 

Listen! I will mail my own personal check 
for $100.00 to the club member writing the 
best letter of protest to Photoplay, and telling 
WHY they think Photoplay has made one of 
the bad mistakes of its career in so unjustly 
publicising Hope Hampton. The best letter 
printed in Photoplay's Brickbats & Bouquets 
column will be judged the winner, and the 
writer will receive — from me — $100.00. 

There are no restrictions to this offer. You 
may write as long a letter to Photoplay as you 
wish, and do not lie afraid of offending the 
editor; he has already offended Hope's fans in 
a most willful manner. 

At the time of writing your letter, make a 
copy of it and send it to me. All letters will be 
considered, though the ones printed in the 
magazine (which, alone, will be proof of their 
general interest on this subject) will stand the 
best show. I will not judge the entries in this 
contest — that will be up to several others whom 
I am selecting at random. All I want is to see 
Photoplay Magazine receive the reprimand 
that is justly due it; to see Hope's friends stand 
up for her, as they should. 

u 



Brickbats 
Bouquets 

LETTERS 
FROM READERS 



The readers of Photoplay are 
invited to write this department 
— to register complaints or com- 
pliments — to tell just what they 
think of pictures and players. 
We suggest that you express your 
ideas as briefly as possible and 
refrain from severe personal crit- 
icism, remembering that the 
object of these columns is to ex- 
change thoughts that may bring 
about better pictures and better 
acting. Be constructive. We may 
not agree with the sentiments ex- 
pressed, but we'll publish them 
just the same! Letters should not 
exceed 200 words and should bear 
thewriler' s full name andaddress. 



You need not mention in your letter to 
Photoplay anything about the prize. The 
prize is not the purpose for the letter in the 
first place. You must write a letter that comes 
from the heart; tell Photoplay that you are a 
Hope Hampton fan — and mean it, when you 
say it. Hope would do as much for you. She's 
that kind of a friend. Address your letters to 
James R. Quirk, Editor, Photoplay Mag- 
azine, 221 West 57th Street, New York City. 
Sincerely, 

Walter I. Moses. 

Ruddy and Richard 

Youngstown, Ohio. 
Editor Photoplay Magazine. 

Dear Sir: "The Bright Shawl." I have 
just seen it and cannot refrain from saying that, 
second to "Blood and Sand." 1 think it is the 
finest play I have seen for a long time. I have 
always admired Richard Barthelmess, but my 
admiration has grown tenfold since seeing his 
latest play. 

Last month some one from Sweden said that 
Valentino's admirers range from ten to sixteen 
years of age. This is decidedly wrong, as my 
mother and my grandparents, who are far 
from being the age of either ten or sixteen, 
declare him to be the most graceful ami 
charming actor that they have seen. And 
they surely ought to know if anyone should, 
after living in the large city of Pittsburgh, and 
seeing some of the most celebrated actors on 
the stage, as V. 11. Southern. Ilenrv Irving and 
William Gillette. 

While in Pittsburgh last April, I saw 
Rodolph Valentino and his wile dance, later 
he was asked to speak, lie did so with such 
grace and charm and with such excellent and 
masterly English, while every one looked on 
with admiration. One could see he had many 



admirers; young men. young women, elderly 
men and elderly women, while the children of 
ten years old were few. 

It Ls only ignoramuses who have lived in the 
country all their lives and have never seen the 
really great actors and great plays, who do not 
appreciate Rodolph Valentino. We, who ap- 
preciate good acting, will more greatly appre- 
ciate the talents and efforts of this truly great 
actor. He will return and we will wait 
patiently for him. 

Adell Marie Baker. 

We Burst with Pride 

San Jacinto, Calif. 
Editor Photoplay Magazine. 

Dear Sir: I am glad to note that you are 
no longer Actionizing current films. This is a 
practice which is not at all commendable, and 
in most cases, is terribly disillusioning. For 
instance, one reads a short story in the maga- 
zine which is very interesting, and one is quite 
sure that the picture must be more so. On 
seeing the picture, one finds that the author 
of the Actionized movie has a great imagi- 
nation, and has consequently not presented the 
picture as it truly is. On the other hand, 
some pictures that are wonderful are told in a 
very mediocre, and oftentimes, nonsensical 
manner. In some cases, this sort of story has 
kept me from seeing a picture which I have 
later found was well thought of. 

Another thing I am delighted to see, is the 
alphabetical arrangement of the latest films, 
with a concise and valuable criticism follow- 
ing. This saves one the trouble of saving the 
magazines, or making a note of the criticism. 
I have found several times that this has helped 
me, and this is indeed a good record for a thing 
that has been in the magazines so short a time. 

And still another thing. Your contest. It 
was one of the cleverest things that I ever 
read about, and I was one of your most val- 
iant competitors. 

And your rotogravures — your pictures are 
beautiful, and so well printed. But you never 
have one of Glenn Hunter, or of Careth 
Hughes, or of George Hackathorne — that is I 
mean, good ones. Once you had one of Glenn 
Hunter, and it was horrible! That will sound 
rather contradictory to the first sentence, but 
I'll say again that it was a long time ago. 
So please take the hint and publish some very 
nice ones of each. 

I am exceedingly glad that you criticised 
"The Girl I Loved" so well. I consider it the 
most beautiful picture that I've ever seen, 
barring none. And "Driven"! I like it 
better than any other "mountaineer'' movie. 
It is the most characteristic picture that has 
ever been made in this locale. 

I sincerely hope that this letter will not hurt 
anyone's feelings, and that it will not arouse 
any criticism. It is written to congratulate 
this magazine on its many good qualities and 
to suggest something as you have seen. But 
there are times when one's command of words 
is limited. This is one of the times for me. 
But I am sure that I have gotten over what 
I wanted to, so my mission is a success. 

Ai ice Moore. 

A Refreshing Note 

Oak Park, 111. 
Editor Photopi w Magazine. 

Dear Sir: Considerable discussion concern- 
ing photoplays and photoplaycrs goes on in 
your columns these days: isn't it high time 
thai somebody's voice was raised in defence 
of Mary Miles Minter? 

The general impression seems to be that 
Miss Minter has. in some mysterious way, 
disgraced herself, that the public is tired of her. 
and that, therefore. "The Trail of the Lone- 
some Pine" was her last picture. 

[ continued on page 16 ] 



Piioioi'i w M\i,\/im Advertising Section 



15 



t 



2 







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Be a Jazz M"usic Master 



1 






II 



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Write for interesting, illustrated booklet, "The Niagara 
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ing piano by ear. 77ii's booklet sent FREE. Enclose 
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Ronald G. Wright. Director, NIAGARA SCHOOL OF MUSIC, Niagara Falls, N.Y. 



CLIP THIS COUPON NOW 



p LAV 



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Niacara School of Music. Dept. 619, Niagara Falli, N.Y. 'Without obligation mail me your booklet, 
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Name 

St. and No. or R. F. D 

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Age Ever take piano lessons ? How many? 



When you write to advertisers please mention I'lIOTOPLAY MAGAZINE. 



i6 



Photoplay Magazine — Advertising Section 



CLASSIFIED ADVERTISING 

Rate 35cts. per word. FORMS FOR MARCH ISSUE CLOSE JANUARY TENTH 



AGENTS AND SALESMEN 


HELP WANTED 


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PATENTS 


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Brickbats and Bouquets 

[ CONTINUED FROM PAGE 14 ] 

Wherein has Miss Minter offended? The 
newspapers have been doing their best to 
manhandle her career ever since her portrait 
was found in the home of the slain William 
Desmond Taylor, but when and where has one 
iota of evidence against her been produced? 
Miss Minter has admitted that she loved Mr. 
Taylor, and all the world knows that she and 
her mother have had acrimonious difficulties 
over finances. It does not seem that either 
of these facts ought particularly to shock us. 

Miss Minter's own account of her affection 
for Taylor is innocent enough. I would rather 
take her word than accept the speculations 
of a lot of journalists whose treatment of the 
matter cannot, in the nature of the case, be 
founded on anything other than guesswork. 
E. C. Wayenknecht. 

A Cynic's Criticism 

Michigan City. Ind. 
Editor Photoplay Magazine. 

Dear Sir: As I am a reader of Photoplay 
for the last ten years, I feel that I have a right 
to have my say about the pictures and the 
players. 

In my opinion the pictures are going from 
bad to worse. Saw only one real picture. 
"Manslaughter." last year, and that was not 
what I wanted it to be. The "Four Horse- 
men" was pretty fair, and the scenery was all 
I cared for in "Enemies of Women." 

We have some good actors, wasted on pic- 
tures, that are not worth a dime to see and 
cost thousands to produce.' Why not give 
us fewer pictures, and better, instead of bunk. 

We have some excellent players in Richard 
Dix, Leatrice Joy, Barbara La Marr, Antonio 
Moreno. Rockliffe Fellowes, Herbert Rawlin- 
son, Marcia Manon, Betty Compson. Lon 
Chaney, Richard Barthelmess. 

But the real stars that I would any day like 
to see are the stars of long ago: Polly Bush. 
Warren Kerrigan, Alice Joyce. Monroe Salis- 
bury, Frank Keenan, Bessie Barriscale. Harold 
Lockwood, Geo Madison, G. M. Anderson. 
Anne Little, Edna Mayo, Hazel Daly, Pearl 
White, Howard Hickman, Hazel Dawn. Nell 
Craig, Harry Morey, Ormi Hawley. Edith 
Storey, May Allison, Leah Baird. Ella Hall. 
Arthur Ashley, Sessue Hayakawa. Kathlyn 
Williams, Virginia Pearson, and scores of 
others too numerous to mention. 

Long life to your magazine, the Photopi ay. 
Marle L. Wolich. 

Sincere and a Little Different 

Detroit, Mich. 
Editor Photoplay Magazine. 

Dear Sir: Please let me say a word about 
that delightful picture which I viewed recently 
— "Where the Pavement Ends." Personally. 
I found it absolutely fascinating. Rex Ingram 
can always he depended on to give us some- 
thing sincere and a little different, and I doubt 
if he has ever done anything better than this 
picturesque and enchanting story of the South 
Seas. I have never witnessed a scene of such 
exquisite beauty as that where the young 
native sings to the missionary's daughter be- 
si.le the falls. It is perfect. Rex Ingram has 
caught that elusive loveliness which cannot 
be described, but which lingers long in the 
memory. 

The lovely blonde Alice Tern- blended per- 
fectly with her beautiful surroundings. To 
me. she seemed ideally cast. Ramon Xovarro 
was a superb figure as the pagan, Molauri. 
He possesses an easy grace and a charm of 
manner which fairly breathe freedom and 
romance. The actor deserves much credit for 
his splendid delineation of the young native — 
I hope he may soon have an opportunity to 
duplicate his line performance. I shall watch 
for him in "Scaramouche." 

Doris Xedderileyer. 



Every advertisement In rnoTOPLAY MAGAZINE Is guaranteed. 



Photoplay Mag a/in i Advertising Section 



Brief Reviews of Current Pictures 



1 1 oNTnn 1 1> i ro .1 paoi 13 ! 



SOUL OK THE BEAST Metro Cinderella 
elopes with an elephant. Hard time bai < Inderella, 
but .ill ends well, even foi Mend elephant Uuly.) 

SPANISH DANCER Paramount. Pola Negri'* 

American-made picture. \ proof that the fault! 

In " H.11.1 Donna" and "Tin- Cheat" were not her*. 

Hei performance as the gvpsy (M remarkably good, 

' oreno's. (Di ctm b t r.) 

SPOILERS. THE — Goldwyn.— A new ration of 
the Rex Beach Alaskan romance, with .1 capita] cast 
As thrilling .is ever. Milton sills and Noah Been 
stage .1 t.-.iiistu fight, and Inns. Nilsson It excellent .is 
the dance hall girl. (August.) 

ST. ELMO — Fox.— A novel of the time of our 
fathers which makes a picture of about the aami 1 ra. 
Attempting to modernise the story baa m>t helped it. 

(October.) 

STEEL TRAIL, THE Universal. -A aerial about 
the building ol .1 railroad. Interesting and lull of 
thrills. The building ol the ro.nl is very real and the 
villains very wicked. {October.) 

STEPPING FAST— Fox.— Tom Mix mixes with 
desperadoes. He saves .1 ^irl from the rascals after 
a trip to China. The girl says "yes." {July.) 

STRANGERS OF THE NIGHT— Metro— A fine 
picture In every way. Even better on the screen than 
as "Captain Applejack" on the stage. Direction of 
the best. (Ntmmbtr.) 

SUCCESS—Metro.—Si'ntinieut.il melodrama, A 
screen version ot a stage play which was not a SUCCCSS. 
(September.) 

TAILOR. THE— Fox.— An Al St. John comedy 
with the usual slapstick stuff, but also with some of 
the clever mechanical effects that he always has. The 
children will love it. (December.) 

TEA WITH A KICK— Asso. Exhibitors— The 
only feature is Stuart Holmes as a comedian and he's 
pretty awful. (November ) 

TEMPTATION— C. B. C. Film Sales Corp.— 
Original in that the couple who are struggling un- 
happily under the weight of their millions do not lose 
the bankroll and live forever in a cottage. (July.) 

THREE AGES— Metro.— Buster Keaton in the 
stone age. the Roman era and the present. It has its 
good spots, but is below Buster's standard. (No- 
vember.) 

THREE WISE FOOLS— Goldwyn.— A screen ver- 
sion of a stage success, with much hokum but with 
plenty of entertainment and appeal. (September.) 

THUNDERING DAWN— Universal— A story of 
Java with some tremendous and unusfja] effects. A 
picture that should be seen, but hardly for the family. 
(December.) 

TIMES HAVE CHANGED— Fox— Not much of 
a picture, with William Russell as star. Is in con- 
ventional mold and is good for the family. (De- 
cember.) 

TIPPED OFF — Playgoers. — Mixed-up melodrama 
with Chinese crooks, missing necklace and the rest of 
it. Not worth bothering about. (December.) 

TO THE LAST MAN— Paramount.— A real, red- 
blooded Western, filled with fights and other exciting 
episodes. Nearly the whole cast killed off. (November .) 

TRAILING AFRICAN WILD ANIMALS— 

Metro. — This Martin Johnson picture is the best of 
its kind. The best animal close-ups ever made, and 
some tremendous thrills. (July.) 

TRIFLING WITH HONOR— Universal.— The 
story of a home-run king, resembling Babe Ruth, 
who is the idol of the small boys. Intenselydramatic 
and worthy. (July.) 

TRILBY — First National. — A careful and artistic 
production of the Du Maurier romance with Andree 
Lafayette, the French actress, as star. Entertain- 
ment value marred a little by the direction. (October.) 

UNTAMABLE, THE— Universal.— Gladys Wal- 
ton as a victim of a dual personality. Rather inter- 
esting, but inclined to be morbid. (November.) 



\ 1 \(.i \\< 1 hi 1 11 P m Re- 

devil crabs, tea weed and 
, ike tin- u- Intel 

ind thrilling. Hut tin- actors on dtr) land -> • ■ 

VICTOR, 1 HI r 
itorj .'i titled Englishman, stranded <<> New 1 
and his love affair with a good little uctn An 
but not worth wasting much time, [October.) 

w win RING i> W (.11 1 1 us 1 I] 1 National, 
1 1 you are n daughter, wandei awaj from tin- plctun 

and save youi tinie and money. (StpttmtMt.) 

WESTBOl \i> LIMITED— F. B. O. A homely, 

sympathetic tale limit about tin- railto.nl ami its men, 
A Ime Interest, loo though haidh ncCCS ary. {July.) 

WHAT WIVES WANT Universal. After many 
reels the husband realises thai all business and nn 
love will wreck am marriage, You probablj will 

realize it from the In-t. (July.) 

WHEN LAW CAME TO HADES -Capital.— A 

shadow of "The Covered Wagon." Trite story of old 

plainsman and abandoned baby, full of maudlin 
sentimentality, (December.) 

WHERE IS MY WANDERING BOY THIS 
EVENING— United Artists.— A Hen Turpin comedy, 
and as full of laughs as any of his nonsense. He ia 
vamped In tins one -and compromised. (September.) 

WHERE IS THIS WEST?— Universal.— A pie- 
11 the small boys. They will love it. Doubtful 
about others. (November.) 

WHERE THE NORTH BEGINS— Wamei 

Brothers. — Rin-tin-tin. the dog star, does his stuff 
again. It's a pity some of the two-legged players 
can't be as consistent. lie makes this picture worth 
while. (November.) 

WHITE ROSE, THE— United Artists.— D. W. 
Griffith's latest, bringing Mae Marsh back to the 
screen. The stars playing is wonderful. So are the 
sets and photography. The story is not so much. 
Ivor Novello. Mr. Griffith's new leading man, is 
highly decorative. (August.) 

WHITE SISTER, THE— Inspiration.— Another 
triumph for Lillian Gish. shared by Henry King, the 
director. The picture, as a whole, is excellent, but the 
star overshadows everything. (November.) 

WHY WORRY?— Pathe.— Another Harold Lloyd 
laugh-maker. This time, aided by a giant, Mr. Lloyd 
quells a Central American revolution. Fully up to his 
standard and that is praise enough. (November.) 

WIFE'S ROMANCE. A— Metro.— Clara Kimball 
Young as a love-hungry wife in an improbable story. 
Not for the family. (December.) 

WILD PARTY. THE — Universal. — Gladys 
Walton as a young newspaper woman who gets 
tangled in libel suits, jail sentences and a lot of 
things. Nothing to get excited about. (December.) 

WITHIN THE LAW— First National.— An ex- 
pensive production with big names, but lacking 
inspiration and vitality. Norma Talmadge seems 
afraid to act. The best work is that of Lew Cody as 
the crook. (July.) 

WOMAN OF PARIS, A— United Artists.— Probab- 
ly the most perfectly directed picture ever screened. 
Another proof of the genius of Charles Chaplin, who 
produced and directed it. Not for the children. 
(December.) 

WOMAN WITH FOUR FACES— Paramount.— 
A fast moving crook melodrama, always interesting, 
with some excellent acting by Betty Compson. A 
thrilling aeroplane escape from prison a feature. 
(September.) 

YOU CAN'T FOOL YOUR'WIFE— Paramount. 

— Good money and players wasted upon an absurd 
story. Again the husband on the edge of the restless 
forties, the neglected wife and the regulation vampire. 
(July.) 

YOUTHFUL CHEATERS— Hodkinson— A story 
of the country youth in the big city. Full of jazz and 
other modern features. Glenn Hunter is good. 
(September.) 

ZAZA — Paramount. — A very interesting picture 
which gives Gloria Swanson a chance to prove that 
she is one of the leading actresses of the screen, a 
chance of which she takes full advantage. (December.) 




'7 

THIS 
ETCH 



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Who is The Beauty of the Screen? 





Heaser 



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MARY ASTOR 



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Not the best actress, but the most beautiful. Every person who sends in the name of the winner will receive a 

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Volume XXV 



The Rational Guide to iMotion "-Pictures 



Number Two 



[TBAOI MAKft; 



PHOTOPLAY 



January, 1924 



Speaking of Pictures 



By James R. Quirk 



THE award of the Photoplay Magazine Gold Medal of 
Honor to "Robin Hood" as the best picture of the year 
1922. announced in the last issue of this publication, has met 
with universal approval. The selection has been generally 
praised by the press and public and the motion picture business 
itself. In acknowledging it, Douglas Fairbanks was most 
gracious, as always. "The public has signified its approval of 
the picture through the box office, " he said, " but it is gratifying 
beyond words to feel that they thought so well of it as to take 
the time and trouble to send in their votes for it. I shall always 
do my human best to continue to please them." And in addi- 
tion to taking sincere pleasure in awarding the highest mark of 
public expression of appreciation. to Mr. Fairbanks, we want to 
take this opportunity to tell him that he and his work will 
always be an everlasting credit to the art and industry to which 
he is devoting his life's best endeavors. 

AND while we are on the subject of Douglas Fairbanks we 
cannot let pass without comment his recent action in 
announcing that he has instructed his attorneys to bring suit 
against a publication that has intimated very broadly that 
there was domestic trouble between Mr. Fairbanks and his 
wife, Mary Pickford. I am sure Miss Pickford has nothing but 
a feeling of pride when she is referred to as " the wife of Douglas 
Fairbanks." Too many of these statements in newspapers and 
magazines have been allowed to go unchallenged, and we con- 
gratulate both Doug and Mary on their courage in putting a 
stop to it. 

THE motion picture business is approaching a dramatic 
climax. Everyone is going in for bigger pictures because the 
public is demanding them, and so far, seems willing to pay for 
them. In at least one way it is a good thing. It is a real case of 
the survival of the fittest, and the strong-hearted and quick- 
thinking will run ahead of the pack and leave the weaklings far 
behind. Vision, daring, and ability are the important factors 
in this business, as in any other. The firm which does not have 
at its very head a man who combines these qualities will be 
trampled under in the furious advance. It is a heart-breaking 
struggle. 

A FEW weeks ago Famous Players decided to close down the 
major part of their production activities for a few months. 
The stock of the company tumbled on the Stock Exchange. As 
a matter of fact it should have gone up. The decision was a 
very wise one. It was sane and courageous. The company is 
well supplied with productions and the action was an intelligent 
effort to bring the business back to normal conditions. Costs 



have been soaring. Actors and actresses have been getting 
really exorbitant salaries. It was a 1923 gold rush. Producers 
were bidding against each other like drunken sailors for sure-fire 
casts. Directors were vying with each other to achieve spec- 
tacular results and personal glory without regard to cost. Some 
one had to call a halt. And it has given the business a lesson it 
will not soon forget. 

PRODUCERS are again inveighing against the high salaries 
of players. And again they have only themselves to blame. 
Instead of casting actors according to their fitness for roles, 
producers have been engaging them for their "names" — names 
which are supposed to aid the box office but which, as a matter 
of fact, mean little. As a result of this illusion, a few players 
who have a more or less fictional fame have been able to get 
preposterous salaries, while many others equally good have 
been unable to get work at all. With very few exceptions, 
producers are afraid to take a chance on a beginner. They 
engage their players by their price tags. The Standard Oil 
Company and other big business firms take young men and 
educate them in the business. Thus they are not compelled to 
pay exorbitant salaries through shortage of capable men. In 
contrast, motion picture producers have taken the easiest way 
— and have to pay the price. 

CAX you imagine the Prince of Wales standing in line at a 
moving picture theater awaiting his turn to buy a ticket 
when the tall, uniformed attendant is howling "standing room 
only"? Neither can we. But it came pretty close to that in 
London during the run of "The Covered Wagon" at the 
London Pavilion. The prince arrived, and one of his friends 
explained to the manager that he desired three seats. There 
wasn't an empty seat in the house. Imagine the feelings of the 
unfortunate manager. He explained that every seat was 
occupied, but that he would arrange with some of the members 
of the audience to accommodate the party. "I wouldn't have 
anyone disturbed for the world," said this real prince, and made 
arrangements to see the picture another night. 

WHAT a wonderful human being Norma Talmadge is! The 
other day she was discussing her future with a distin- 
guished foreigner who expressed surprise at the enthusiasm of 
the American public over its favorites. He had noticed in his 
travels through the United States, he said, that she was 
universally respected and loved. 

"Yes," said Norma, "that makes me very happy, and is 
really the greatest reward of the work. But I realize that we 
must continue to be worthy of their respect and admiration. If 
I do not continue to make good pictures I am not entitled to it." 

27 



Mary PickforcTs Favorite Stars 



Her 

Favorite 
Stars 




Douglas Fairbanks 






\ ~T 




N>" 




Charles Chaplin 


Lillian Gish 



Charles Ray 





Mabel Normand Rodolph Valentino Norma Talmadge 







t 



Jeanne Eagles 



V3 

Sam de Grasse 



Pauline Lord 



NO better character revelation of Mary 
Pickford could be had than in her attitude 
in listing her favorite stars and favorite films 
especially tor us. 

She regarded the work with the utmost 
seriousness and spent two weeks making her 
selections. After the lists had been compiled 
she made two revisions to get the exact order 
of her preferences. 

By devoting hours of thought and priceless 
time in order to give an absolutely sincere and 
conscientious compilation, Mary reveals the 
reason why she is The Queen. For this con- 
scientiousness, sincerity and indefatigable zeal, 
combined with her rare mentality, are applied 
to everything that Mary Pickford does in tin. 

service of the public. 

Mary is our Queen because she is our most 
loyal subject. 

The Km roR 



28 



Read this story and you will \now why 
Mary Pichjord is queen of the films and 
always will be. With \eenness and can' 
dor, she discusses the screen of tO'day, its 
problems and personalities 




Mary Pickford and her niece, Mary Pickford Rupp 



By Herbert Howe 



"f 1 1HE time is coming when the screen will be controlled 
by a big business combine. 

"When that time comes I shall retire. 
"Neither Douglas nor I will ever again take dicta- 
tion from business men who sit in their mahogany offices back 
East, with their big cigars, seeking to control a business which 
they do not understand. 

"The public demands artists. Inn these men do not under- 
stand the temperament of artists. 

"Valentino quit. So will Douglas and I. so will Charlie. 
Harold Lloyd and other artists when they find they are no 
longer free to express themselves. 

" 1 am no longer in pictures for money. 1 am in them because 
1 love them. 

"1 am not vain. 1 do not care about giving a smashing 
personal performance. My otic ambition is to create fine enter- 
tainment. 

"If I ever retire from the screen I will become a producer— 
unless 1 am forced into retirement by the combine. 

Such is the ultimatum hurled with the force and curtness of 
a Mussolini from under a flowery girlish hat that crowns the 
wisest head in motion pictures— Miss Mary Pickford s. 

Premier Piekford at Luncheon 
Frankly, 1 had no interviewing intent when I went to lunch 
with Mary Pickford. 1 went to get her advice as to real estate 

investments in l.os Angeles. 



and Films 



Will Mary ever retire from 
the screen? If so, what will 
occupy her attrition? She 
answers these questions for 
the first time definitely 



Mary says — 

The important thing in pictures is not the 
story but the treatment. Setting, acting, story 
may all be splendid but it's the treatment that 
lifts a picture out of mediocrity. The idea! 
working combination is a fine director with a 
line scenario writer. Unfortunately — 

The time is coming when the screen will be 
controlled by a big business combine. When 
thai time comes, I shall retire. Then I shall 
become a producer, unless I am forced out by 
the combine. 

I do not care about giving a smashing per- 
sonal performance. My one ambition is to 
create fine entertainment. 

Stars must take responsibility for their pic- 
tures as well as for their performances. Look 
at the way Pola Negri was blamed for "Bella 
Donna,'' and the fault 'was not hers. 

Charlie Chaplin is the greatest director of the 
screen. He's a pioneer. There will never be 
another Chaplin. How he knows women — oh, 
how he knows women.' 

I do not cry easily when seeing a picture, 
but after seeing Charlie's "A Woman of 
Paris" I was all choked up — / wanted to go 
out in the garden and have il out by myself. 
Our cook felt the same way. 



Her Favorite Pictures 

Moiiin Hood combines .1 fine stor) with .1 big ipectacle and builds 
consistently i<> ■ climax without dropping inten 1 for 1 moment. 
It has beautiful costiftnes, good photography, marvelous settings, 
is convincingly acted, .mil adds to the dignity oi the screen. 

Birth or k Nation was the first picture that reall) made people 
take the motion picture industry seriously. Even today it stands 
as the t'wu'st example of dramatic accumulation on the screen. 

1 >i 1 1 i'iiiin is an example of superb direction and splendid acting, 
especially that of Emil Jannings. It was the first time on the si reen 
that a King had been made human. Ir has subtle, satirical humor. 

Woman of Paris allows us to think tor ourselves and does not con- 

stantly underestimate our intelligence. It is a gripping human 
storv throughout and the director allows the situations to play them- 
selves; The actors simply react the emotions of the audience. 

Toi.'\m.i: David retains the same quality the I leruesheimcr pen 
conveyed and is notable tor the sustained drama ot the plot. When 
I first saw this picture I felt I was not looking at a photoplay hut 
was really witnessing the tragedy of a family I had known all my life. 

Over the Moll. This story is so simple and human that even the 
people of far away China could sympathize with the situations. 
It deals with a world-wide problem — what. to do with the old. The 
human touches are delightful. 

The Kid is one of the finest examples of screen language, depending 
upon its action rather than upon subtitles. It is notable on account 
of the great generosity of Charlie in sharing honors with Jackie and 
because of its direct simplicity, depending solely upon its treatment. 

Blood \nd Sapid is notable on account of Valentino's performance. 
In my judgment it is the best thing that he has done and one of 
Mr. Niblo's finest pictures. It is one of the few pictures I have 
been able to sit through twice and enjoy the second time more than 
the first. 

Seventeen is perhaps the best example of Tarkington's angle on 
life — the typical wholesome American humor, fresh and charming. 

SmujoV Through is notable because of Norma Talmadge's beauty 
and appealing performance, the wonderful sets and photography 
and the entertaining story. It deals with a subject which interests 
most women — that of spiritualism — which is so delicately and beau- 
tifully handled that it could offend no one. 



When I consulted a prominent banking man on the realty- 
subject, he said: "Go to Mary, she knows more about it than 
anybody in Los Angeles." 

I recalled an important business conference of the United 
Artists' Distributing Corporation. D. W. Griffith. Douglas 
Fairbanks, Charlie Chaplin, Miss Pickford and several shrewd 
officials were assembled in discussion of weighty problems, 
when suddenly D. W. exclaimed: "Leave it to Mary — she 
knows more about the business than any of us." 

Xot long ago the Los Angeles Chamber of Commerce 
requested views toward the greater development of the city. 
The mayor, the district attorney, the leading business men 
replied with long essays, but the gem that glittered out of the 
heap was a terse little epistle from Mary Pickford, so brilliant 
of analysis and foresight, so sound and feasible of outline that 
the Chamber of Commerce ordered it bound for public record. 

The troubadours of the press have long celebrated the wonder 
of Mary with chants of her charity, her talents, her beauty, her 
girlish charm and elfishness. As I say, I found her about as 
elfish as Benito Mussolini. She hasn't as big a jaw as Benito 
but it's just as firm and determined. 

She's a woman, a powerful, practical woman, keen of percep- ' 
tion and judicious of reason. Her ability as an interpreter is 
secondary to her ability as a creator of entertainment. No role 
she can play on the screen is as great as the role she plays in the 
motion picture industry. Mary Pickford the actress is com- 
pletely overshadowed by Mary Pickford the individual. 

During lunch at the long table in her studio dining room she 



carried on discourse with director, scenario writer, publicity 
man, camera man and production manager. A premier in 
cabinet session. 

Precise and sententious remarks issued amazingly from the 
symbol of girlish loveliness at the head of that table. 

"I have only three hundred billboards for the New York 
showings of 'Rosita,' " she said. "Do you think that enough? 
I wanted five hundred. I think billboards very important in 
the advertising campaign. 

"Douglas, how many billboards have you for 'The Thief of 
Bagdad'? " she asked, turning to her husband, seated at her 
left. 

Doug, whose mind was less on business than on the approach- 
ing food, was toying aimlessly with his knife. Mary took it 
from him and put it down. 

"You'll put out your eye," she reproved. 

"I've got fifty billboards," said Doug. "The first of the year 
is a long time off." 

"You need to reserve billboards a long time off," was Mary's 
pert rejoinder. "Douglas, the make-up on your chest is much 
darker than your face. There is too much contrast. I'm sure 
the camera is going to get it." 

Doug's director, Raoul Walsh, said he thought it was all 
right. 

I'm sure it will pick up darker in some lights," insisted Mary. 
"You had better powder over it a little, Douglas." 

Douglas, nibbling grapes, said, "All right, dear." 

[ CONTINUED ON PAGE I OS ] 



Two Famous Screen Stars — A Man 



Miss Daniels be- 
lieves she can afford 
to wait, because once 
married she expects 
to stay married 




Why I Have 



By Bebe Daniels 



I have contemplated marriage, have been on the verge of 
it. But I would not give up my work for marriage. Itseems 
very difficult to reconcile a career and a husband. It's so 
difficult for the man. To me, marriage is a sacrament, and 
when I marry, I hope it will be "until death do us part" 
and even after that. I do not believe in divorce, for myself, 
at least, and so I am going to do my part to be reasonably 
sure before I take the sacred vows that my marriage has 
the best possible chance of being a successful one. 



* 



EVERY girl looks forward to the time when she will be a 
wife and mother. Nature planted that desire in the 
heart of every woman and nature is still the strongest 
force. Education and progress have in no way dimmed 
that eternal longing for wifehood and motherhood that, for 
generations, has been a part of every feminine heart. And most 
women feel that, until they have borne a child, they have not 
fulfilled the cycle of existence nor touched the highest point of 
being. 

I am no exception to (he rule. In fact. I believe thai force is 
Stronger in me than it is in most women today. 

But to me marriage is a sacrament, and when 1 marry 1 hope 
it will be "until death do us part" ami even after that. 1 do 
not believe in divorce, for myself at least, and so 1 am going to 
do my part to be reasonably sure before 1 take the sacred VOWS 
that my marriage has the best possibe chance of being a suc- 
cessful and happy one. 

That is why 1 have waited and why I am one of the few girls 
on the screen still single. Many have tried it and failed. 

■JO 



In other walks of life than 
ours, the matrimonial prob- 
lem doesn't seem so difficult 
to solve, although I believe 
we are living in an age of 
tremendous readjustment be- 
tween the sexes. But in our 
profession it seems so easy to 
make mistakes in selecting a 
life mate. The obstacles in 
the path of happiness seem so 
much greater-. 

For a girl to be happily 
married and, at the same 
time, give the necessary time 
and interest and energy to a 
career, she must have a 
husband of unusual under- 
standing. Xo matter how 
hard she tries, how good her 
intentions may be. after the 
ceremony is over it is too late 
to remedy certain funda- 
mental conditions. The un- 
derstanding must be complete 
before marriage, and such a 
requirement as that will, of 
course, prevent a lot of mar- 
riages. 

Men, as a rule, want their 
wives to themselves. Not only do they want their time and 
attention, but they want their thoughts. Men. for centuries, 
have been trained to expect that their wives should be sub- 
ordinate to them, financially, professionally — that they should 
slay at home ami bear children and conduct the house. 

But if a girl has worked conscientiously for years and 
attained any degree of prominence and success in her profes- 
sion, she isn't satisfied to abandon her ambitions any more than 
a man would be satisfied to give up his. 

Frankly. I would not give up my work for marriage. I have 
worked since I was seven years old. It is my life. I don't see 
any fair reason why 1 should give it up. 

And yet, it seems very difficult to reconcile a career and a 
husband. Most of the examples I have seen haven't encouraged 
me. 

It's so tremendously difficult for the man. I understand that. 
They are seeing what has been their tradition, their very 
world, tumble about them. They are facing basic changes. 
Their heritage of lordship over the [ continued on page 119 j 



I 



a n d A Wo m a n —Te 11 Their Reasons 



Never Married 



By Richard Dix 



I want to m.irry. No man's life can be complete Without 
■ wife and, particularly, without children. They say the 
father complex is not active in most men, hut 1 believe it is 
in me. If I don't marry, I'll adopt some children. But 
maybe the reason I've been waiting and hoping to rind my 
right girl, why I haven't been ashamed to wait even though 
I felt very humble myself — maybe the reason is that I've 
looked upon my wife as the woman my children would some 
day call Mother — and that's a very important thing. 



IT is a difficult thing to stop and analyze why you 
have never married. Almost as difficult as to 
analyze why you have. Try it yourself, some- 
time. 

Marriage comes natural to some people. There 
are marrying men and marrying women, who look 
forward to that state as 
the correct and proper 
one for all mankind. 
There are others who 
shy at the mere thought 
and have to be blind- 
folded by love, snared 
by clever tricks and 
gently eased into 
double harness. 

There is no law in 
the world so powerful 
as the marriage law, no 
law so necessary to the 
future of the race and 
the development of a 
people. Seriously I 
think every man should 
marry and have chil- 
dren. But somehow, it 
just hasn't happened to 
me. 

I suppose the truth 
is, though my mascu- 
line ego hates to admit it, that the real reason is because no 
woman has ever been sufficiently in love with me to really want 
to marry me. If one had been she would have. 

Up to this moment, I have never felt the surge of that great 
and wonderful love that wipes out all considerations of the 
future and sweeps you helpless and blissful to the altar. I 
hope I will. Love is a perfect anaesthetic. Only, when you 
come to, instead of being minus a pair of tonsils or an appendix, 
you're plus a rib. 

When that feeling comes, you no longer analyze and study 
and weigh things pro and con in an effort to assure yourself 
some happiness before the final knot is tied. 

Oh, I have been in love plenty of times. I've gone through 
most of the stages. It's just never happened to be the marry- 
ing kind of love. There is the stage of puppy love, which is an 
emotion of the soul, and which may occur any time in child- 
hood. I remember when I left home at 16 to go on the stage 
in New York and earn my living, I left a girl behind me. She 
was very pretty. I think she had soft brown curls, and I know 





//. 



to <■ 

(jnl 



tayt hit ideala 
too old-fathA 
vpect tht I"- 

io adapt /■ 

in tin in 



w'- 




*■ 



she had dimples. I adored her, with a hopeless, helpless 
adoration. I remember all the way to the depot in the "sur- 
rey" I planned that when we said good-by on the station 
platform I would kiss her. She had promised to wait for me. 
I didn't kiss her. That is one thing life can never give to me, 
that missed kiss. 

She didn't wait. When I came home two years later, she 
had married the postman. I have since grown philosophical 
about everything except that kiss. For I have never wanted 
to kiss a woman quite so badly since, with quite that Lovely, 
white flame. 

Then, there is the period of romantic adventure. A man 
is interested in woman, paralyzed by her many attractions, 
her undcrstandableness, her mystery, Curiosity drives him 
into unbelievable experiments. I believe most men marry to 
try to solve this mystery. They think if they can possess a 
woman, live with her constantly, they shall find the answer 
to the eternal riddle. Perhaps it is one of those riddles without 
an answer. [ continued on page i 19 ] 

31 




Photoplay Magazine lias the honor of presenting the 
life impressions, commencing in the next issue, of the 
great Polish actress, considered by many to he the 
greatest artist the screen has revealed — and certainly its 
mosl interesting figure of the hour. 

The name of Negri has something of the dignity and mystery 
that surrounds the name of Duse, commanding as it does a 
respect for an art rather than for a personality. Aloof and 
solitary, I'ola Negri has remained disdainful of cheap publicity 
and contemptuous toward petty criticism. Yet she has a story 
to tell more romantic than any of fiction. . . . 

"Poverty and suffering in my childhood and tragedy al- 
ways," she writes in the opening chapter. "Before I knew 
happiness I saw death, heath, imprisonment, the black 
plague and Cossacks killing, killing. Torture and oppression, 
war and revolution, starving children and frantic mothers and 



A n Amazing 
Revelation 

The 

Autobiography 

of 

P ola Negri 



friends shot down by my side. . . . The Four 
Horsemen always riding over my country." 

A fatalist in the shallow of tragedy, she yet 
writes with sardonic humor, particularly of her 
Hollywood experiences. 
"My life has been one revolution after another, but Holly- 
wood was the worst." 

With candor and ruthless disregard of the Pollyanna con- 
ventions, by the observance of which many stars have sought 
to build profitable personalities. Negri reveals herself, saying: 
"I don't care what people think of me personally. I don't care 
whether they like me or hale me when they leave the theater, 
but I do want them to say, "Tola Negri gave a marvelous per- 
formance.' ' 

In Berlin they called her •■That Tiger Cat!" 
On the screen she achieved renown as the pagan, soulless 
Carmen. Since coming to this country she has been termed 
ruthless and temperamental. And yet this tiger cat. this wild 
gypsy and temperamental actress, supports an orphanage of 
two hundred children on her estate in Poland! 

So it is not only in admiration for Negri, the magnificent 
artist, but because we know of her greatness and sincerity as a 
woman, that we feel honored in the privilege of presenting this 
storv of — 

Appolonia Chanulec daughter of a Hungarian gypsy, who has 

become the world-famed Tola Negri. 



Co 

82 



m m c ii c i n 



i n 



t h c n c x t i s s u c of P h o top] a y 



Magazine 



Here Are the 

Winners of 

Photoplay's 

Cut Puzzle 

Contest 



First Prize — Mrs. S. M. FarreU presents her 
solution in the shape of an elaborate fan made of 
orange and bhck georgette. Narrow black lace 
ornaments it, combined with a small wreath of col- 
ored flowers, which are placed at the base. Words 
are quite inadequate to describe the amount of work 
and care lavished upon it. The pictures of the stars are inserted 
under a layer of orangt georgette, and are correct in every detail 




Here are the correct names of the 24 stars 
whose pictures appeared in the contest 



July 



Mabel Normand 
Mae Murray 
Antonio Moreno 
Tom Moore 



Colleen Moore 
Claire Windsor 
Noah Beery 
Douglas Fairbanks 



Billie Dove 
Doris Kenyon 
William Duncan 
Harold Lloyd 



Anna Q. Nilsson 
Jane Novak 
Conrad Nagel 
Eugene O'Brien 



August 



Marguerite de la Motte 
Mabel Ballin 
Lionel Barrymore 
Lloyd Hughes 



September 



Renee Adoree 
Eleanor Boardman 
T. Roy Barnes 
David Powell 



FROM the 30,000 solutions received to the cut puzzle 
contest which appeared in the July, August and Septem- 
ber issues, Photoplay has at last selected the winners 
of the fifty prizes. The list of winners is published 
herewith. 

It has been no easy task to determine these winners. The 
vast flood of answers, which far exceeded every anticipation 
of the management, necessitated the hiring of additional office 
space and of a corps of employees to open and sort the solu- 
tions. Every one was carefully examined; every one was 
acknowledged. 

For more than a month this work went on until, from the 
great pile of answers, approximately 2,000 were selected as 
correct so far as proper fitting together and identification 
were concerned. Then came a search for minor errors, mis- 
spelled names and other little defects, because the prize- 
winning solutions must be one hundred per cent perfect. 

This search reduced the eligibles to about 1,100. From 
that time on the task became one of picking those best ar- 
ranged, which showed the most care, the most artistic skill in 
arranging and presenting. This was the hardest of all. The 
judges, selected from Photoplay's staff, had many long and 



The Prize Winners 

First Prize— $1500. 

Mrs. S. M. Farrell. Reynolds Apts.. Ellcnsburg, Washington. 

Second Prize— $ 1000. 
Mrs. Helen K.Lucius, 1524 Orange Grove Ave., Hollywood, Cal. 

Third Prize— $500. 
Madeline E. Doupe, 698 McMillan Avenue, Winnipeg, Canada. 

Fourth Prize— $250. 

Frances E. Stadler, 185 Oakdale Boulevard, Decatur, 111. 

Fifth Prize— $125. 

L. P. Stevens, 295 Twelfth Street, Portland. Ore. 

Twenty Prizes of $50. 

Pauline Sandell, 127 Kingshighwav Pk., St. Louis, Mo. 

Hazel Kessler, 1870 Goodyear Av., Akron, Ohio. 

Ronald McDonald, 25 La Chevrotiere St., Quebec, Canada. 

Ethel M. Colby, 2328 Drexel Av.. Chicago, 111. 

Katherine Marie Lang, 108 South Pcnn St., Punxsutawney, Pa. 

Leonard H. Vogel, 1102 Bedford Av., Brooklyn, N. Y. 

Mrs. Leon Grossberg, 260 Oakdale Av., Akron, Ohio. 

Mrs. John F. Segesman. 326 W. Church St., Jacksonville, Fla. 

Emil Paulson. 1617 E. 77th St.. Terrace, Kansas City, Mo. 

Mrs. F. M. Graham, 1405 Rosemont Av., Chicago, 111. 

S. Clyde Fitts. 79 W. Harris St., Apt. A., Atlanta, Ga. 

Albert Henault, 138 Boyer, Montreal, Canada. 

Hlise A. Mover, 2802 Bellview Av., Augusta, Ga. 

Al. A. O'Brien, 1133 E. Henry St., Savannah. Ga. 

Mollie Cortright, 2810 W. Oxford St., Phila., Pa. 

Mrs. F. W. Cate, Johnson, DuBose Co., Atlanta, Ga. 

Magorie Myers, 11718 Browning Av., Cleveland, Ohio. 

Miss Margaret Rupp, 5629 Dorchester Av., Chicago, 111. 

Jack Nissen, 485 Seneca Av., Brooklyn, N. Y. 

Miss Irene Ketcheson, 867 Mulvey Av., Winnipeg, Canada. 

Twenty-Five Prizes of $25. 

Miss Helen Merker, 245 E. 31st St., New York City. 

Charles J. Sova, 148 W. 120th St.. New York City. 

Mrs. Norma Campion, 583 Rathgar Av., Winnipeg, Canada. 

Mrs. George C. Taylor, 160 Eairbank Rd., Riverside, 111. 

Helen Ashford, Wakinsville, Ga. 

Prances D. Moore, 621 Harrison St., Topeka, Kansas 

Mrs. Emma Weis, 419 Pritz Av.. Dayton, Ohio. 

Marion S. Nolan, 1324 N. 13th St., Phila.. Pa. 

Floyd (Traham, 156 Summer St.. Galesburg, 111. 

Frederick F. English, 416 Walnut St., Phila., Pa. 

William O. Kline, Roanoke, Ind. 

Jean O'Brien, 3050 College Av., Berkeley, Calif. 

Daniel Lowe, 1402 N. Kedzie Av., Chicago, 111. 

Mrs. Minnie Trigg, 1507— 17th St.. N. W., Canton, Ohio. 

Mrs. Irene Christensen, 1655 Waller) Av., Chicago. 111. 

Elizabeth McCarthy, 649 Central Av.. E. Orange, N. J. 

Emil Mueller, 132 Maple Av., Irvington. N. J. 

Norma L. Baker, 1624 F. 73rd St.. Cleveland. Ohio. 

Grace Kaufman, 1214 Wheeler Av., Bronx. N. Y. 

Frances A. Tipton, 607 E. 17th Av., Spokane, Wash. 

Mrs. Grace Read. 1737 N. Kedzie Av., Chicago, 111. 

M. H. Johnson, 820 S. Claremont Av., Chicago, 111. 

Mrs. H. H. Pickett. 901—19 S. La Salle St.. Chicago, 111. 

Miss Harriet B. Glenn, 1211— 15th St., Altoona, Pa. 

George D. Billings, 207— 1st St., N. E., Washington, D. C. 



33 



Cut P u 2, 2, 1 e Contest Solution 





Second Prize — Mrs. Helen K. Lucius' solution 
shows more of a detailed research than originality of 
conception. She presents it with at least seven poses 
of each star taken from leading photoplays wherein 
they have played, and with the star's autograph 



Third Prize — Madeline Doupe relies upon pen and 
ink for fine little bits of caricaturing. The humorous 
little sketches completing the body of each star are 
characteristic of a picture wherein each played. Miss 
Doupe shows an unusually retentive memory 



heated arguments before the final decision was made. 
And each and every one of the judges is convinced that 
the awards as published here are fair and just. 

Some of the most elaborate and beautiful solutions 
were out of the running because of small defects. 
There is presented here a photograph of some of these. 
Many of them are beautifully arranged and mounted, 
and many show great ingenuity, but each and every 
one had some fault that took it out of the prize- winning 
class. 

While every state in the Union was represented 
among the answers, the great bulk, came from thirteen 
states, from the District of Columbia and from Canada. 

Many countries outside of America were also heard 
from. Among the replies from foreign lands were con- 
tributions from Costa Rica, Hawaii, Holland, the 
Philippines, the Argentine, Spain, Mexico, England, 
Brazil, Australia, Prance, Egypt, Sweden, Norway, 
India, China and Japan. The answers from these 
countries were especially gratifying as showing the great 
international distribution of Photoplay Magazine. 

Many of the letters accompanying solutions were 
bright and interesting. Several would-be pri/.e winners 
lapsed into verse. Prom Annette Skiles, of Santa Ana, 
California, came this one: 

On the following pages you'll find, if you look. 

The faces from "pieces" I've made in a book. 
They may lie all right or they may all be wrong, 

I pasted the pieces where 1 thought they'd belong. 
Now here's hoping I'm lucky, I can sure use the"mon," 

With best wishes, I'm always, yours truly, (for fun). 

The amount of skill and labor expended on the solu- 
tions is shown in this picture, which is a grouping of 
the fifty prize winners 




84 



Came From All Parts of the World 



fr Q* 4^ PHD -i 




a©, as 



Li 



D 3. 



Foukth Prize — Frances E. Stadler's solution is most 
interesting. She chooses Photoplay as her medium 
of presentation. The three issues of the magazine are 
sketched, with the correct pictures pasted in its open 
pages. The July cover is partially painted in 





Fifth Prize — L. P. Stevens' solution is neatly pre- 
sented. The whole has been rephotographed and re- 
touched. All of the pictures have been printed and 
air brushed. The solution is nicely bound, showing 
a gnat deal of work spent in its presentation 

In white ink on black paper, Mrs. B. Walter Ashen- 
feller, of Ford, Idaho, writes: 

I can't direct nor write a play. 

I have no actin' graces. 
But, oh, the clever dame I am 
At makin' movie faces. 
Rosemary Hinder, of Indianapolis, is a philosopher. 
She writes: 

Herein you'll find an answer 

To every cut up face. 
I'm sure that every fan, sir. 

Was equal to the race. 
Here's hoping that I've won, sir, 

A prize, or great or small. 
But I've had lots of fun, sir, 
Should I win none at all. 
The thousands who sent in answers to this puzzle 
should be told that, even if they did not win a prize, 
their time and labor mean more than just the effort to 
win. The solutions are to be used to delight hundreds 
of children in the hospitals in and around New York. 
These youngsters, some too ill to leave their beds, some 
convalescent, some crippled, have sent requests to 
Photoplay that the ingenious and brightly colored 
answers be sent to them, and the management has 
gladly acceded. So, even if you did not win a prize, 
the thought that your work will help to gladden one 
of these little unfortunates may be some compensation. 
Finally, Photoplay wishes to thank everyone who 
participated in the contest. The response was remark- 
able. Photoplay congratulates the winners and says 
to the less fortunate: "Better luck next time." 

Another group of submitted answers, many beautifully 
done, but each of this group has some mistake, pre- 
cluding any chance of a prize 

35 



Motion Picture Statistics for 1923 




By Ralph Barton 



m ■/. 





( Comparative diagram showing: 

Heroes condemned for crimes JlJfi 

Heroes guilty of crimes J 

Heroes guilty of crimes by "the 
unwritten hue" 




TpVERY great industry issues an annual statistical report. 
J— j Indeed, statistics, we are assured, arc a vital necessity to the 
success of any business. They tell you in a nutshell, so to speak, 
exactly what has happened during a given period. 

Now, motion pictures are young, and as yet there are no care- 
fully compiled statistics of the films. Maybe that is what is the 
matter with motion pictures— they haven't any statistics. 

Anyway, feeling that there was a great need for an accurate 
record of past achievements on the screen. Photoplay engaged a 
corps of expert statisticians to get busy with the films. And we 
lake great pleasure in presenting to our readers the following 
mathematical report for the year 1923: 

Statistics Relating; to News Reels 

Of the 300 news reels produced in 1923: 

300 showed views from an airplane. 

300 showed pictures of battleships at anchor. 

298 showed school children dancing ring-around-a-rosy in a 
public park. 

293 contained pictures of an Elks' parade, t The other seven 
contained pictures of an Oddfellows' parade. J 

291 showed animals at the zoo being fed. 

230 showed a picture of Babe Ruth grinning. 

274 showed views of new styles in women's clothes. 

Statistics Relating to "Scenics" 

Of the 400 "scenics" produced in 19Z3: 

400 gave us a distant vista with an enormous tree-trunk at 
the left close to the camera. 

399 terminated with a tinted sunset on the ocean. 

380 contained a skyscape showing a bank of swiftly moving 
clouds. 

375 showed a distant train of cars coming round a curve. 

280 revealed a barefoot dancer in cheesecloth draperies skip- 
ping about the greensward, playing a long wooden whistle in 
imitation of a woodland nymph. 

The words "sylvan." "primeval." "palpitant." "twilit." 
"zephyrs," "eternal," "mysterious." and "sylvery" were used 
in the sub-titles 7.140 times. 

Statistics Relating to Comedies 

In the 1.500 comedies produced in 1923: 

1,500 contained a chase in which an antique Ford was used. 

1,499 contained a wedding at which the bridegroom, having 
forgotten the ring, searched frantically through all his pocket.-, 
and finally, in desperation, produced a pretzel. 

1,192 depicted a man sitting down accidentally on a hot 
stove and instantly leaping up with great clouds of smoke 
issuing from his posterior. 

1,270 were based on the device of having the tramp-hero fall 
asleep and dream he was fabulously continued on pace 107 ] 



Material used 
in beautifying 

t h e h a i r of 
1. '*.'■>'* leading 
men. compared, 
in bulk, to the 
l.t dathan 



Sugar consumed by 

horst s in the dramas 

in 1988 




86 




Japanmu vaU I 

a i, l.i A tmeht- 

lort 8,109. Acton 

ninth up Id lool Kki 

ditto : | 



Comedians in 1,192 
comedies out of 1 ,500 
ant on hot starts with 
smoke streamers re- 
sulting 



Ultimate destina- 
tion* of tin i ;.!>',<> 
thota fired from cow- 
boys' rerolrers 





* 



The arms of 5,699 
deserted young Indie* 
which icere stretched 
yearningly toward 
young men, added 
end to end 





In 280 out of 400 
scenics 



The 14,729 tortoises 

sacrificed to supply 

rims for glasses, 

placed end to end 




Liar s Lane 



The story of an ambitious young 

scenario writer who discovered that all final 

"close-ups " are not on the screen 

By Frank R. Adams 

Illustrated by Arthur William Brown 



BOARDING houses all over the land resound nightly to 
the click of rented typewriters assiduously spewing page 
after page of romance all laid out ready to be shot just 
as soon as a good motion picture director realizes its 
worth. 

Richard Loid lived in such a boarding house in Davenport, 
Iowa, and he had taken a correspondence course entitled " From 
Inkwell to Projection Room," so he had the technique of the 
photoplay at his fingers' ends. But Davenport is not one of 
the cities of the world about which romance will ever be 
written. It is busy, progressive, prosperous, but it will never, 
presumably, be a town to break your heart over, or even in, 
like Paris or Lucerne or Winchester or New Orleans. Daven- 
port is a better setting for life than for love. It's too darn 
comfortable. Who can successfully mourn their lives away in 
a city full of open plumbing, steam heat, movies, Rotarians, 
Lions and Kiwanians? You've got to "step" in Davenport or 
you'll lose your number and romance makes way for commerce 
in the lives of its young along about the end of the high school 
age. 

Dick bowed to the yoke of commerce — he was a bookkeeper 
for an office appliance manufacturer — but he had not sold 
his soul. Even at the age of thirty he still yearned — not 
exactly for higher things but for something, for room in which 
to stretch cramped ideas and ideals. The consciousness of 
something beyond, of a dynamo of life that he had never con- 
nected up with, disturbed Dick, kept him from being a 100 
per cent Corn Husker. 

Not that he had ever been anywhere or seen anything. A 
year at Iowa State University had been the pinnacle of his 
education. There might have been more, but family financial 
necessity interfered. 

So his adventurings afield had perforce been confined to 
mental ones. Because he thought that he could write — an 
idea planted in his mind by a professor of Freshman English — 
he had struggled with one form of literary expression after 
another, hoping that one of them would prove his emancipa- 
tion, would really furnish wings to lift his body as well as his 
soul out of the industrially befogged Mississippi Valley. 

Unfortunately Dick had nothing to write about. Life had 
given him no experiences, nothing of romance. 

Unless you counted Katie Conway. 

Katie had a room on the same floor of the same boarding 
house that Dick inhabited. 

For five years they had sal next to each other at Mrs. Sor- 
rella's table, and after dinner had kidded each other for awhile 
or gone to the movies together for all but the first month of 
those five years. 

Conversation between them never progressed from kidding 
to sentiment - never. 

Katie Conway was like Davenport. She was efficient, clean, 
comfortable, not temperamental. You couldn't imagine her 
lovesick. Her blue velvet eyes looked out too squarely at the 
world ever to be downcast at the behavior of a recalcitrant 
lover. Her skin was lovely -everybody wondered how she 
kepi it that way, working in an office — but upon first meeting 
her you didn't right away get an almost imperative impulse to 

38 




put your cheek against it in one of its visible areas and find 
out if it really was like cool rose leaves. She had a classic 
figure (which isn't as much of a compliment nowadays as it 
was when Queen Victoria did away with the bustle for reasons 
best known to herself), but the masculine beholder did not 
follow her around hoping that she would faint so that he might 
have an excuse for holding it in his arms. 

No, Katie was loo much a personality. Not masculine. 
On the contrary she was the extreme oi femininity, but her 
womanliness was of the maternal type rather than the sweet- 
heart. It was easy lo picture her surrounded by adoring 
children but it was more difficult to imagine the father in the 
family group. 

No. one couldn't write action about Katie. Katie was life, 
not romance. 

Too bad. because down deep in Dick Lord's heart there 
was a ^park of genius that only needed life, love and the pur- 
suit o\ unhappiness to fan it into flame. Dick knew it him- 
self. It gnawed at him constantly. That was what made him 
restless, discontented, why he beat his untried wings against 
his book-keeper's cage. 

The tragedy of lack of opportunity is a thousand times 




more terrible than death. And it happens so often. Every 
tenth man or woman you meet probably might have been 
something glittering, incandescent, glorious, if necessity had 
not smothered the glowing sparks in his or her breast — if 
mother had not died before the singing lessons were com- 
pleted, if a sick wife at home hadn't made it necessary to give 
up painting canvases for the more immediately remunerative 
job of painting houses, if the failure of the family fortunes 
had not forced the brilliant and coming young composer into 
automobile salesmanship. 

To Dick, Katie meant companionship but not inspiration 
Man-like he blindly took her best years and gave her nothing 
in return. Because Katie never accepted invitations from 
other men for fear Dick might want to talk to her that evening. 
From that, you can see how things stood with Katie. 

But she knew how hopeless it was. knew it long before Dick's 
uncle died, making it a hundred times more hopeless. 

Because Dick's uncle had been well-to-do and he unex- 
pectedly left fifty thousand dollars' worth of securities to Dick. 

You'll have to imagine what fifty thousand dollars did to 
Dick's soul. It opened the gates, allowed it to get warm and 
glowing with anticipation and then spread its wings. 



lie COIlld even feel 
his blood linking .it a 

different tempo, con- 
tact was established 

with romance, change, 

illusion, call it what 

you will, life perhaps. 
He could go now— it 
didn't matter mu< h 
where— just go, stand- 
ing erect with no chains 
to drag him back. The 
feeling of buoyancy, of 
lightness, was like the 
effects of champagne 
or, if you can't remem- 
ber back to those days, 
like "taking off" in an 
aeroplane. 

He began to say 
good-bye to Daven- 
port. He moulted his 
job as soon as he con- 
veniently could and 
bought two grips. 
Imagine, he had never 
traveled far enough be- 
fore to need any bag- 
gage! Two grips were 
enough to hold all of 
his new wardrobe and 
he was not taking a 
single old thing. 

The fortune was not 
great enough so that he 
could count on it as a 
source of perpetual in- 
come. Rather it was 
a sort of educational 
fund with which he 
could prepare for the 
rest of life. 

So, quite naturally, 
he spent some of it on a 
ticket to California. 
There were two reasons. One of them was that the Pacific 
coast promised the beauty and romance for which his soul 
was starved, and the other was that out there were the head- 
quarters of motion pictures. He believed that he could write or, 
rather, learn to write for the screen. His diploma from the 
correspondence school enthusiastically claimed that he was 
fully competent to deliver a continuity all ready for shooting. 
Dick was not such a boob as to believe that, but he did think 
that maybe, now that he had a chance, he could develop what 
he had heard referred to as the "screen angle." 

He was going to California as a pilgrim, not as a conqueror. 

II 

OF course Katie knew he was going — she had been one of 
the very first whom he had told — but he had not seen a 
great deal of her during the period of preparation. 
Came the eve of his departure. 

Katie was not down to dinner. Dick wondered if she were 
ill. On his way to his room to finish packing he stopped at 
her door. 

"Anything the matter?" he asked when a muffled voice 
responded to his knock. 



/ . itmr 

i/nti good-byi 
now." "Kit* ' 
Dick recoiled, I 
ing. l\ i ■ wen not 
in their repertoire, 

Xi n r hail In i a 



39 




Dick wanted her closer but did riot dare. "Millie, I lore you" he whispered 



"No, Dick." 

"I wanted to be sure to say good-bye. I'm leaving in the 
morning, you know. Can I come in?" 

"No, not now," she denied hastily from behind the door. 
"I'll come to your room presently. Perhaps I can help you 
with your packing." 

Dick assented cheerfully and went on to his own coop. 
Everything there was in anticipatory disorder, clothes occu- 
pied the chairs and the bed and one of the new grips lay open 
on his table. 

He went about the last rites, whistling. Dick scarcely knew 
how to whistle. Never before had he been sufficiently light 
hearted to practice. Now the frost was gone, spring in him 
was waking up, spring and a singing heart. 

A rap on the door. 

"Come in." 

Katie, of course. Dick scarcely looked up at first, but when 
she remained by the door he threw her a second inquiring 
glance. 

•'Why. Katie!" 

The cause of the exclamation was Katie's costume, that 
and Katie herself. 

She wore very little besides a filmy negligee over — he hoped — 
lingerie of some soil. Anyway the entire outfit clung to Katie 
like a damp postage stamp. It goes without saying that she 
was lovely. What woman isn't that way, especially if she has 
gorgeous black hair, bushels of it, which she has let down in 
cascading ripples over her shoulders? 

Dick tried to laugh the situation off. " Katie, you had gone 
to bed and forgotten that I was leaving until I woke vou up. 
Was that it?" 

Katie smiled. "Perhaps. Anyway I've come to kiss you 
good-bye now." 

"Kiss me?" Dick recoiled, blushing. Kisses were not in 
their repertoire, never had been. 

"You weren't going without that?" Katie asked simply. 

No, he wasn't. He could tell that by looking at her plead- 

w 



ing eyes. There was something in them that he had never 
noticed until then, something distinctly soft but compelling. 
Perhaps he had never really looked before. 

At any rate there was no denying them or her. 

Right there in the open doorway he kissed Katie for the 
first time, kissed her and held her close. 

Just as he had feared, there was little between him and 
Katie but a couple of layers of negligible silk. She melted to 
him as if she were flowing metal. 

No man should be saying good-bye toa woman in that fashion. 

Dizzy a little and stilled by a sudden emotion. Dick re- 
leased her, even pushed her away. 

"Good-bye," he said huskily. 

"Do you want to leave me?" Katie asked. 

"Katie, you mustn't put it that way!" 

Katie swallowed hard. She would not cry. "I had to do 
this, Dick. I mean the clothes and getting you to kiss me and 
everything. I couldn't let you go without finding out if you 
knew I was a woman, if you could ever regard me as anything 
but a pal. I knew you didn't love me and I still know it. but 
might as well tell you that I've cared, oh, for years. I've been 
waiting foi you to find it out. Vou never would so I had to 
come right out Sat and tell you. I'm not ashamed of it. It's 
the only thing I've lived for since I've known you." 

"Katie!" he tried to interrupt. 

"No, I must say it all now. I'm not the kind of a woman 
to blame a man for not loving her. I've taken all that into 
account. But I belong to you so absolutely that it would be 
wrong for you not to know it. I couldn't say 'good-bye' with- 
out telling you, without giving you the chance to — " 

Dick laughed, but with the quality of tears in his laughter. 

He understood now. "Katie, dear," he said and took her 
in his arms. (This time he was not conscious of the nearness 
of her body at all.) "Katie, dear, you're the splcndidest girl 
in the world and I know you'd never want me to be leaving 
you, feeling like a kicked cur. Would you now?" 

[ CONTINUED OX PAGE 121 ] 




Mr. mill Mrs. Rex Ingram, off 

■,. Alice left her blonde 
trig on the lot, before she 
started on a vacation trip 



Alice & 

Miss 

Terry 

By Bland Jobaneson 




Aliee Terry is the charming leading lady of 

" Scaramouche." After two years of married 

life she is still unstarrcd — although her adoring 

husband is her director 



Being directed by friend hus- 
band, in a set ne lil.e this, jus 
n fete days after the indding 

teas hard on Miss Terry 



She's two — no, three — 

people in one, this lovely 

lady with the powdered 

wig and the wistful eyes. 

At home she is Alice; 

on the lot, or in the studio, 

she is Miss Terry, 

and to her friends she is 

Mrs. Rex Ingram. 

She's proudest of the last 

name, for — 

she's very much in love 

with her husband! 



WHEN Rex Ingram married the actress whose 
beauty and whose intelligent portrayal of a butter- 
fly wife contributed so much of finish and artistry 
to "The Four Horsemen of the Apocalypse," all 
the catty women in pictures raised their eyebrows and purred: 
"Pretty soft for Alice." Quite aside from the well-known 
'love interest," to be the wife of one of the most valv.able 
directors of feature films was to be "sitting pretty." 

Two years ago Alice Terry gained this advantage and she 
still is playing unstarred leads in her husband's pictures for a 
salary which is comparatively not large, exactly the position 
she achieved on her own, before she became Mrs. Rex Ingram. 
The Fate which gave her this new- backing played its trick 
and destroyed something of her ambition, diluting her love 
for her work with a strong and absorbing fondness for her hus- 
band. Today she echoes his expressed opinion that movie 
prominence is not necessarily the miraculous Beginning and 
the glorious End of everything, sharing his conviction that the 
rush and racing in production have made the pictures a neurotic 
art and an hysterical business. 

As Alice Terry's interpretation of the character which made 
her — that of a neglected, life-greedy wife, conducting an intrigue, 



in "The Four Horsemen — "' was so deft it seemed to surpass 
acting, so the strength and decision one senses on meeting 
her are a revelation. She is almost masculine in her sanity, 
and one of the most unaffected women I ever have seen. She 
is balanced in her appraisals. She knows her own limitations 
and exactly what she wants. She is neither languid nor lively, 
but crisp, breezy, Hoosicr. She has a keen business sense and 
is typically American, from the way she wears her clothes to 
her lovable and amusing bossiness with her husband, who 
happens to be her boss. 

I asked Miss Terry how she liked working for the man she 
married. 

"It's terrible," she answered. 

"Suppose he reads that." 

"I'll swear I didn't say it." 

"He may think it's terrible, too." 

" He probably docs. He knows I'll cry if he hurts my feelings, 
and that might spoil the picture." 

"It even might spoil the home." 

"A spoiled picture amounts to the same thing, and one 
can't be too careful." 

"Has he ever done it?" [ continued on page 104 1 

u 



Natacha Valentino Inspired Paul Poiret 




This evening wrap, which gives 
the effect of an exotic, ermine- 
like fur, is made of ivory white 
velvet with a black satin border. 
It is worn over a gown of 
matching white velvet, tvith a 
pearl embroidered, black satin 
bodice and panel. An odd 
black head-dress, wound with 
pearls, completes the costume. 
The back of the urap is shown 
at right 



An oriental inspiration (hat has been 
christened "Sultana." The purple and 
gold brocade of the bodice creeps down 
intriguingly over a skirt of turquoise blue 
satin. With H La Rambova wears a bro- 
caded head-dress and brocailed slippers 



A uulking suit of black velvet, 
with trimmings of red suede 
and horizontal bands of crushed 
gold braid on the sleeves and 
bodice. The hat. which is al- 
most a tricornc, boasts a crown 
of red suede — the brim is of 
black velvet with a gold orna- 
ment upon one side 



<-' 



to Create for Her this Exotic Wardrobe 




These COStumes were de- 
signed for Natacha Ram-. 
bova (Mrs. Rodolph Valen- 
tino) when she and her 
liusband were in Paris, late 
last summer. They were 
treated while the Yalentinos 
si>ent the autumn at their 
villa in southern Frame. 
Poirct — that artist of the 
bizarre, the striking, the 
unusual — has managed to 
imprison the personality of 
Rambova in each bit of this 
handiwork. As a result 
these clothes are more than 
clothes. They belong, quite 
perfectly, to the woman 
who wears them — a woman 
who is gracefully different! 



A black velvet cape that 
Poiret has named "Vic- 
toria." The skirt is fin- 
ished with two deep ruffles, 
the collar is of soft black 
fur, and the entire garment 
is lined with crushed gold. 
This lining is displayed in 
another photograph 



On the preceding page you hare been permitted a 
glimpse of this gown. But no glimpse would serve 
to show the arlfid designing of the bodice, which 
slopes away from one gleaming shoulder, or the 
intricacies of the pearl embroidered satin. The ivory 
velvet start is very full, and, against its whiteness, 
Rambova carries a vermilion feather fan 



;■? 



Poiret Features Bizarre Simplicity 




An afternoon gown, oddly tunned "Crimee" 
by Poiret — who has a title for his every 
gown. The draped black satin skirt is sur- 
mounted by a circular, cape-like blouse that 
is made of grey crepe de chine and banded 
with white baby fox. The hat — the second 
one by Maison Lewis — is of black satin and 
white crepe de chine 




A queenly wrap of chinchilla from which Natacha 
Rambova's classic face rises with all the delicate 
beauty of an orchid. This cape could be used for 
restaurant dining, or for the the dansant, but its 
wearer prefers it irhen worn over an evening frock 



You have already seen this black velvet cape — from 
the demure outside. The lining of crushed gold 
fairly flames when used as a background for this 
afternoon dress of vermilion velvet with black satin 
and gold bandings. The hat of black velvet, with 
vermilion trimmings, is by Maison Leiois 



Tiger 



Elinor Glyn herself, 
after inspecting hun- 
dreds of candidates for 
the much-coveted load' 
itig role in her novel, 
"Three Weefc," has sc 
lee ted Aileen Pr ingle 
as conforming most 
closely to her concept 
tion of the character 



Queen 

By Mary IVinship 




The daughter -in-law of 
the world's greatest land- 
owners social leader, the 
mistress of a palace and 
a host of servants, with 
unlimited wealth, Miss 
Pringle forsook^ all of this 
to start at the bottom of 
the ladder in motion 
pictures 



PERHAPS no feminine character of modern literature is so 
well known as The Tiger Queen of Elinor Glvn's famous 
•'Three Weeks" 

As soon as it was decided that Goldwyn was to film that 
much discussed love tale, under Elinor Glvn's personal super- 
vision, everyone instantly demanded "and who is to play The 
Lady? " Incidentally, there was something of a wild scramble 
on the part of a good many actresses to win a chance to occupy 
the tiger skin. 

A great many prominent and dazzling names were men- 
tioned. Madame 
Glyn was obdurate. 
She was going to find 
the ideal Tiger Queen 
if it took all summer. 
There was much 
storm. The whole 
force of the organiza- 
tion centered upon 
the search. Plans for 
exquisite and expen- 
sive settings and cos- 
tumes were held up. 
And then, suddenly, 
all was sunshine. 
Madame Glyn smiled 
inscrutably. The 
Tiger Queen had been 
found and rejoicing 
was in order. 

Aileen Pringle is to 
play the much 
coveted role. 

And who the deuce, 
says everyone, is 
Aileen Pringle? We 
expected some very 
famous vampire or 




Aileen Pringle in one of her most striking poses as The Lady 
on the tiger skin in "Three Weeks" 



some great foreign beauty. Aileen Pringle is neither. She was 
born in San Erancisco, and she is practically unknown in 
pictures, but, oddly enough, her history and her personality are 
almost as interesting as those of the heroine she is to play. 

A very rich society woman, she gave up a life of luxury and 
fashion, in a beautiful palace with seventeen servants and a 
most enviable position, to become a screen actress. 

Aileen Pringle is the daughter-in-law of Sir Charles Pringle, 
of Jamaica, the largest landowner in the world. She was a 
famous hostess, the ruling spirit of a salon where gathered the 

famous people of two 
continents, the social 
dictator of Jamaica, 
and a well-known 
figure in London and 
Paris during the 
social season. In 
short, a woman upon 
whom the gods had 
showered everything 
that the modern girl 
dreams of as con- 
stituting perfect hap- 
piness. 

Her father was an 
Englishman, her 
mother a titled 
Frenchwoman, and 
she was born in San 
Francisco. She was 
educated in the most 
exclusive schools 
abroad, spent some 
time completing her 
studies with private 
tutors, and then trav- 
[ continued ox 

PAGE I l8 J 



45 



The Glare of The 'Klieg" Lights Turns 




In this scene from "Lawful 
Larceny" we have a type of 
fireplace unsuited to average 
American life. Its cold, hard 
formality belies the cheer that a 
fireplace brings into a room. 
Bid even then, it seems to have 
brought the family together 



This is the Second of Photoplay's Articles on 

Home Furnishing & Decoration 

These articles are written by a practical decorator 
who will take all of his subjects from screen settings 
and tell you just how to achieve their better features 
in your own home. 

No subject is more interesting to the modern house- 
wife, or housewife-to-be, than the furnishing and deco- 
ration of her home. We were inspired in bringing these 
two great factors of American life — The Home and 
The Photoplay — together because we believe that our 
series of articles will be helpful to all our readers. 

A copy of our first article," What Can Be Done With 
Cretonne," will be mailed to you upon receipt of 10 
cents. Address your request to Home Furnishing Edi- 
tor, Photoplay, 750 N. Michigan Ave., Chicago, 111. 



It takes a real, homey, log- 
burning fireplace — like this 
one in "The White Sister" — 
to put romance into a home. 
Its beautiful glow seems to 
have inspired Lillian Gish and 
Ronald Coleman, at any rate, 
to a delightful intimacy 




In " The /."n' Moment" we find a fireplace titling that has all 
the possibilities of keeping one by it until the last moment of 
each dying ember. A fireplace of tin's sort is a Jilting accom- 
paniment to any well-dicorated room 

46 



It's hard to visualize Lois Wilson against a background of the 
formal fireplace in this setting from "The Call of The 
Caniion," especially if you satr her irork trondcrs irith 
cretonne in "Only 88." But her versatility pulls her through 



Into the Firelight's Soft, Warm Radiance! 




The forbidding, old -fashioned 
mantelpiece at the left — its ugli- 
ness corrected bi/ removing the 
dismal top and with other trans- 
formation.', — becomes the cheerful 
center of home life, at the right 



The charm of a hearth 

lies as much in its correct decorative effect 

as in its warmth 



By William J. Moll 



FROM time immemorial the soft warm radiance of firelight 
has played a dominant lead in man's domestic felicita- 
tions. In prehistoric times the Cave Man, with no home 
at all, assembled his family around the fire's ruddy glow, 
and discussed there the trials and tribulations of their stren- 
uous life. And as civilization advanced we find the next step 
in its evolution, the tribe, gathered nightly around very much 
the same sort of fire to discuss their common problems. 

All through life's history we find the fireplace a center of 
communal activity. It lit the rituals of the Druids; it served 
on the sacrificial altars of Bible lore; it lighted the dark coldness 
of baronial halls. 

In American history the fireplace has been the scene of event- 
ful incidents. John Alden did his courting by the fireplace; 
Daniel Boone cleaned his rifle on the fireplace hearth; George 
Washington entertained by the light of candles and the fire's 
brilliant glow. The only light with which Lincoln had to study 
was that thrown by the blazing logs. 

All of early American home life was centered around the fire- 
place. Those of us who are unromantic are likely to say that the 
open fire was the only means of comfort in those days, and had 
to be the scene of family activity. But a study of those fire- 
places will belie this. 

The beauty of their architectural formation, the thought and 
craftsmanship spent on details, the gleaming brasses or dull 
hammered iron of the accoutrements, argue that they were 
something more than a means of warmth. People took them 
as the necessary decorative component of the room. 



Be that as it may, a home without a fireplace — a usable, log 
or coal burning fireplace — never seems entirely homelike. 
There has ever been a practicability about a gas log, of course. 
Some of our present-day living conditions permit only of this 
form of fireplace equipment. But a gas log will ever be a 
sham, a constant reminder of the reality that it could be. 
The focal point of any room is the fireplace of glowing coals, or 
blazing logs, around which we can sit and tell each other our 
triumphs or our troubles, and toast our marshmallows or roast 
our chestnuts, and come to that understanding of one another 
that only cheerful intimacy gives. 

The charm of a hospitable hearth lies not alone in its ability 
to give warmth, but in its correct decorative function. Not 
only is the fireplace the center of family life, but it is the unit to 
which the various decorations group themselves. It is neces- 
sary, then, to make this point hospitable and inviting. In 
doing this the mantel formation — or architecture — should be 
pleasing, and the accessories should be in keeping. 

A writer in one of our current publications recently remarked 
that ''no satisfactory device has ever yet been discovered 
which can really conceal an ugly mantelpiece." But much 
can be done to correct its ugliness. This is evidenced in the 
two sketches at the head of this article. The mantelpiece on 
the left was what the writer found on moving into an apart- 
ment a few years ago. The massive ugliness of it rose tier 
on tier, very much like the hanging gardens of Babylon, and its 
innumerable shelves and compartments must have been filled 
at one time with all the souvenirs, [ continued on page 98 ] 



"Bui you just 
weighed on the 
other ■siulc." "I 
Lump, but I'n 
gained a pound 
niitci I Iw n " 




CARROLL McCOMAS— She was Darned 
for her ancestor, Charles Carroll of Ca 
rollton, and her name is really Charles 
too — is admitted to be one of our most 
(harming actresses. Her charm worked on \Y. 
J. Enright, the cartoonist, so effectively that they 
were married not so long ago, and they pass most 
of their time on their farm near Stamford. There 
Mr. Enright has had a chance to study his wife 
and has discovered that she has some traits 
which did not appear so prominently before 
marriage. Naturally, he doesn't wish to talk 
about his wife's faults, so he has drawn them 
the most poignant griefs in his life that are caused 
by Mrs. l'.nright — though no one would suspect, 
to meet Miss MeComas, that she was so utterly 
abandoned as these illustrations would indicate. 



" Is she ahseul- 
mindedf She asks 
the waiter; 'Hare 
I had my lunch 
or arc you icait- 
i n a f o r in it 
order.'' ' 



4S 



Over the Top at Bunker Hill 



All the heroes of 
Rerolutionari/ Days 
w ill a p p e a r i n 
" .1 meriea." H< re 
(ire seen Sa in uel 
A da in 8 I ■' M :/ 
Stt), and John 

Hancock [William 
Gregory) being in- 
spected by Edwin />'. 
Worthen of the Lex- 
ington, Mass., Ilis- 
torical Socu ty, John 
I /:. PeU, and D. 
11'. Griffith. The 
picture was taken 
outside the historic 
U a ncoek-C lark 
house at Lexington, 
ichieh figures prom- 
's;/ in the film 



1 1, ih, In i, i pit 
1). W. Griffith 
an going our the 
I a j> o i " H u a 1. 1 r 
Hill." timing the 
filming of "Amer- 
ica," with which he 
is trying in wr\ 
the " Birth of a A "- 
(ton." 7 '<< figurt on 
tin luji of tin in nch 
is that of Gt in ml 

/■ COtt. 'Iln nun- 
iii the in 

real I '. S. regulars, 
drafted for tht fu- 
ture t h ;<< ii g h I h i: 

War Departmt nl, 
which si nl several 
thousand soldiers 
into cam p at Sotners, 
New York, to aid 
(Iriffith in making 
this patriotic, film 




CLOSE-UPS 




LONG 



WHEN I left New York, for Hollywood, lured by the sly 
inducements of producers who claim they want new 
faces in pictures, I swore by my halidom that I would 
never return until I had been discovered by Rex Ingram and 
adopted by Barbara La Marr. I return an undiscovered orph. 
All I can say is that I certainly am unspoiled by success. 
When I presented myself for discovery to Rex he took the 
trouble to go to Europe, and when I called on Babbie she took 
with a nervous break-down. Still undiscouraged I determined 
to make the rounds of the studios. No sooner was this deter- 
mination made known than the studios unanimously shut 
down. Rather than give a 
beginner a chance they 
would close the theaters. 
Merton broke in through 
prayer, but that was in 
the old days. The Lord 
has no influence in Holly- 
wood now. You've got to 
know Bill Hays or be a 
Biddle. 

SPEAKING of young 
Biddle, who left his 
wealthy home in Phila- 
delphia to pioneer in 
Hollywood, he was getting 
along nicely until he met 
Nita Naldi. He didn't 
meet her intentionally, ac- 
cording to the morbid tale; 
he merely crept unnoticed 
into one of her pictures. 
When Nita saw the rushes 
and beheld him she let out 
a crematory phrase and 
wanted to know who in 
the bad place let that poor 
poisson into pictures. The 
fact that he was the scion 
of great swag meant 
naught to Nita; the whole 
company of heaven 
couldn't awe our little gal. 
She straightway held 
words with the young 
Biddle. Now he's in the 
real estate business. 

TONY MORENO did 
offer me a chance to 
play a reporter in a pic- 
ture with him, but I re- 
fused to wear make-up. 
W h y should I , Dusc 
doesn't. No real artist 

could register joy, fear and seduction with a foot of pink cement 
over his facade. I tried it and felt like a stucco bungalow. 
All I could register was "for sale, cheap." 

ALTHOUC.1I 1 diil not break into pictures I did gel inter- 
■viewed in Hollywood, and now I know the indignities to 
which stars are subjected by unscrupulous scribes. The inter- 
view which 1 granted to Adela Rogers St. Johns in a recent issue 
of this publication is tilled with gross inaccuracies. After a 
faithful account of my charm, intellect, wit and beauty she 
veered from the truth in order to appeal sophisticated and said 
that I was so lazy 1 never got up before noon. It's a lie! For 
three successive mornings 1 arose at seven a. m. in response 
to telephone summons from Malcolm MacGregor, staggered 
for the distance of two miles to the MacGregor maison for 
breakfast only to sink prostrate across the threshold. Such 
are the things the world never hears about. 

UNQUESTIONABLY the greatest factor in making stars 
is exploitation. But try to find the star who will admit it. 

50 




Within a year Eleanor Boardman has been lifted from worse 
than obscurity to headlines, all through the power of the pub- 
licit}' chief of Goldwyn and his forty unconscionable aides. 
The first we ever heard of Eleanor was through a story to the 
effect that a camel had bitten her on location. The other day 
when a publicity menial asked her to pose for some publicity 
pictures she was too fatigued. 

"For the love of Mike!" groaned the publicity slave. "No 
one would ever have heard of you if a camel hadn't bitten you." 

Perhaps one bite was not enough. Probably no one will 
ever know. But it can't be helped. The camel is dead. 

BULL MONTANA in- 
vited me to tea with 
Jack Dempsey while I was 
in Hollywood. Attired in 
my glaring best, in a mad 
attempt to vie with Bool's 
toilette, I was setting gaily 
forth when Bool remarked, 
"Jack is a fine fellow. He 
like to spar. One time he 
say to me, 'Bool, you ever 
been knocked out?' I 
say, no, so Jack he knock 
me cold. He maybe spar 
with you. Just fool, you 
know, just play." 

"No fool," I retorted 
indignantly, returning to 
my appartcmoii. I like pub- 
licity but I do not crave 
headlines reading. Maga- 
zine Writer Playfully 
Murdered by J. Dempsey. 

BOOL MONTANA 
posed for some art 
studies the other day. 
When he brought the 
photographs to his man- 
ager. Hunt Stromberg, 
Hunt let out an 
anguished wail. "My 
God. Bull, you're ruined." 
' ' Wha 's ma t ? " peeped 
Bull. 

" You're too beautiful." 
groaned Hunt. " Your face 
was your fortune and now 
you've gone and had it 
sand-papered." 

It's true. The panvre 
Bull, taking the advice of 
his esteemed countryman. 
Rodolpho Valentino, had 
gone in for mud packs and massage, with the result that he has 
the skin you love to touch. Now Bool is looking for a homely 
doctor who will unlift his face and restore the rich old topog- 
raphy. 

If he doesn't succeed, some judge is liable to say to him as a 
judge once said to Barbara La Marr. "Go home to your 
parents, my dear, you are too beautiful." 

SEVERAL ladies were introduced to John Barrymore on the 
set where he is making "Beau Brummel." Their escort 
slyly remarked that he guessed any of them would be pleased 
to play with John. 

"Yes?" mused John. "That reminds me of the time three 
little high school girls wanted to meet me when I was playing 
in a lank town. Business was rotten, so the manager said I'd 
better meet them and maybe they would come to the show 
again." 

John was wearing high heels on the stage in order to build 
up his height, and a yellow wig to make him more romantically 
beautiful. 



SHOTS By Herbert H 



y 



owe 



" I went out to meet them," be said, " wearing ( arpet slippers 
and carrying my wig in my hand." 

"Oh, we want to meet John Barrymorel" they gushed. 

" rhis," said John, placing his hand on his breast, "is the 
great John Barrymore." 

"Oh Gawdl" shrieked the Sappers, and Bed. 

CORINNE GRIFFITH is due to arrive as the aext great 
star of the screen. While in Hollywood I gained the 

following positive proof: tWO famous female stars said she 

couldn't act; twenty rumors said she was temperamental; and 
Hollywood society con- 
sidered her aloof. 1 have 
always maintained that 
for enchantment and gen- 
eral allure, Corinne is 
second only to the envied 
Pola. 

ALTHOUGH I did not 
succeed in becoming 
an Ingram discovery I 
learned by dogging Rex 
the secret of directorial 
genius, that which differ- 
entiates this Irish wonder 
from the lesser megaphone 
men. Rex always directs 
with his shirt tail hanging 
out. 

ANOTHER scandal is 
about to break in 
Hollywood involving three 
leading stars. The wife of 
Strongheart has been seen 
DOnstantly of late in the 
:ompany of Rin-tin-tin. 
rhe affair is particularly 
amentable as Mrs. 
Stroneheart is the mother 
)f eight children born last 
December. The little ones 
irrived to bless the Strong- 
leart home at noon and 
hat very evening Mrs. 
Utrongheart was seen out 
vith Rin-tin-tin. There is 
:onsiderable speculation 
is to what action Strong- 
leart will take. It seems 
hat under the California 
aw the couple are not 
egally married, having 
:elebrated their nuptials 
n Mexico. 

DOUG FAIRBANKS was unable to obtain elephants for 
his " The Thief of Bagdad " so he built wooden ones. You 
vill see them on rollers ambling through the Bagdad boule- 
vards, swinging their trunks and snapping their tails. Their 
vork is said to be the most realistic ever seen on the screen, 
vhich is saying a great deal considering the number of fine 
vooden actors we have. Perhaps that's the reason the pro- 
ducers have shut down and fired the high-salaried players. 
rhey doubtlessly figure it is cheaper to build their own. 

NyTO artist would think of working nowadays without music 
LN on the set. 

Entering the Lasky studio one evening with Pola Negri, 
iathlyn Williams and Charles Eyton to view a picture in the 
>rojection room, I heard an orchestra plaving a classic march. 

" For what is that?" exclaimed Pola. "There is no company 
vorking tonight." 

"No," said Eyton, the studio manager, wearily, "but some 
:arpenters are building a set." 



As this goes to press the editor is composing some hot criti 
. isms oi film stars. The man has no sense with Christmas 

Only two week-, oil. Note that nothing hut kind words are to 
he found on my pages this month. Furthermore, no all . 
will he made until after all mv holiday mail has hcen Carefully 

checked. 

IF 1 ever become a motion pit tun- producer I shall endeavor 
to assemble the following company. Directors: Rex Ingram 
and Ernst Lubitsch. Players: Pola Negri, Corinne Griffith, 
Alice Terry, Mabel Normand, liarhara La Mtrr. Xita Naldi, 

Tony Moreno, Malcolm 
M.ti ( iregor, Will Rogers 
and Bull Montana. We 
might not make nun h 
money but I'll bet we'd 
have no dull moments. 

WHENEVER Alice 
Terry has a day off 
she visits studios to set- 
how pictures are made. 
Accompanying her upon 
one of these bus-men's 
holidays I was surprised 
by the number of electri- 
cians, grips, carpenters 
and extras who bawled, 
" 'Lo, Alice!" 

"Man Dieu, madame," 
I ejaculated Frenchily, 
"but vous are known 
everywhere." 

" Sure," said Alice. 
" Four years ago whenever 
any studio needed more 
than a thousand extras 
they called me." 

AS these lines are being 
indited I am prepar- 
ing to join the cara- 
van of Scaramouche In- 
gram at Tunis for a romp 
across the desert. The 
purpose of the expedition 
is to film "The Arab," In- 
gram directing and Ramon 
Novarro playing the title- 
role. My business will be 
to kill flies and curry cam- 
els. I don't know how far 
we will get into the desert 
— that depends largely on 
the Arabs — but Rex would 
like to go to Mecca. To 
that end we are all becom- 
ing Mohammedans. Inasmuch as the chief clause in the 
Mohammedan creed is prohibition, we are practically Moham- 
medans already, though what our religious beliefs will be in 
Paris I cannot say. 

I" HAVE been asked, upon my arrival in Algiers, to deliver an 
J-address before the Young Sheiks' Christian Association, 
which claims that the sheik has been grievously misrepresented 
on our screen. They say that there are just as manv happv, 
home-loving married people with babies in Algiers as in Holly- 
wood; that prayer meeting night is the big night in Biskra, and 
that you have to fight your way into church Sunday morning. 

They further declare, our screen to the contrary, that sheiks 
do not wear bracelets, spats or big panties, even on the most 
impressive state occasions, and that they do patronize barbers 
at least once the full moon. I shall investigate the situation 
and make as thoroughly a Christian-like report as a Moham- 
medan can. 

Allah be praised! 

51 





Extra! Extra! 



Here are some of the 

younger actresses of 

the Western studios 

and on the opposite 

page are their 

Eastern sisters 



The stalely beauty of Jeanne Roth 
icon her a place in pictures with 
"The Dangerous Age" the Sum- 
mer she was graduated from high 
school 






MarceUa Daly is another high 
school recruit. The camera man 
xcho photographed "Blood and 
Sand" said a lot of nice t> 
about her eyes 



Evelyn Thompson 
worked in "Man- 
slaughter" and in 
" Nice People," and 
everyone says she is 
going to be a beauti- 
ful blonde star some 
day 



From telephone girl 
at the Mary Pick- 
ford studio to the 
most beautiful "ex- 
tra'' i n " R o b i a 
Hood." tells the 
placid screen career 
— so far — of Etht I 
King 



M a rga n t Royce 
used to work in a 
candy store, but Res 
Ingram, who em- 
ployed her in " Black 
Orchids" predicts a 
great screen career 
for her 




• >: 




Margin rib Farrell, who left her 

typewriter at Toronto to no into 

pictures at the Paramount Long 

Island Studio 




They may not shine 

so bright!} toddx, 

but among these 

young women 
probably are con- 
cealed the screen 

stars of to-morrow 





J Kin Lomotil was born in Holhpcood 

in the picture atmosphere, was in the 

"Follies" ami then returned to the 

studios 



Helen and Dolores Costiilo, daughters 

of Maurice Costello, who are starting 

at the bottom of the ladder father 

climbed 



Mitzi drill, a ruitive of Buda- 
Pesth, who walked from the school- 
room straight irdo the ranks of the 
Cosmopolitan extras 



Flort tux Sacia, who 
has her own income, 
lives at a fashionable 
hotel and is in pictures 
■ loves the 
work 





Nellie Leach, one of 
the best of the extra 
girls in the East, ac- 
cording to every direc- 
tor for whom she has 
worked 



63 




HE did not have any definite plan. He only knew that 
he must reach the point where the father had said he 
would be wailing in lime to prevent Marguerite going 
away with him. How he would prevent it he did not 
know. His mind was occupied with the more important question 
of traversing five miles in a little more than an hour. 

But he had no sooner left the place where the White Oiler 
River flowed into the lake at the gorge than he found the open 
stretch hidden by a morning mist. He could not see the 
opposite shore but he did catch a glimpse of trees on a high hill 
above the narrows ami paddled toward them. 

After a while they disappeared and he was surrounded com- 
pletely by the fog. It was something he had not counted on 
and he paddled desperately, knowing that he could only trust 
to luck to strike the narrows. 

54 



Not in the 



By Kathrene and Robert Pinkerton 



At last a shore appeared but it was unfamiliar. He paddled 
along iis twisting contour until he found a spot he remembered, 
realized that he hail seen it only a lew minutes before, that he 
had paddled completely around an island. 

He was without sense of direction, had no idea which way he 




In Preceding Chapters 

IN scan li <>i" realism, Dave Mann ^t.n direi 
tor of the Nonpareil Film Company hai 
started through the Canadian wilderness. Hi 
,m«l liis part) composed <>t Larrj Moncrieff, 
idol » > i feminine America, though notoriously 
n Bhy; Fay Brainerd and Peggy Dare, 
leading women; a camera man, an assistant 
dire< i>>r, and some guides hear <>f ;i log pala< e 
thai stands upon the shore ol a Lonely lake. 
They go to the place and find it apparently 
deserted, but, upon searching, discover a for- 
eigner, a deaf mute, who is bound and gagged. 
After trying to explain, the- man hurries to i In 
shore, sups into a canoe and paddles away. The 
uexl morning Mann takes his company to the 
place and begins shooting. While they are al 
work they arc interrupted by an angry old man 
with white hair and an amazingly lovely girl, 
who addresses him as "maestro." As he i^ 
ordering the company off the place the deaf 
mute bursts upon the scene and communicates 
to them a message that evidently frightens 
them. Though Mann offers help, he is again 
ordered off the place, but the next morning he 
sends Larry over to see the girl and. if possible, 
to make peace and get permission to use the 
house. Larry goes, under protest, and discovers 
that the girl never having been to the movies 
— knows nothing about him. He forgets his 
shyness and when the girl (her name is Mar- 
guerite Temple) tells him that the maestro is a 
great musician, and plays from his scores, Larry 
is fascinated. He goes away with romance in 
his heart, but with his mission unaccomplished. 
The next day he returns, after Dave has again 
failed to induce the man to have his home 
filmed, and as he nears the house he hears the 
girl singing. She has a marvelous voice but, as 
Larry listens, the song is interrupted. And he 
hears a conversation between the girl and a man 
who claims to be her father, and who accuses 
the maestro of murder. To save the musician 
from harm, the girl promises to go away with 
her father. She plans to leave early in the 
morning — and while the company is asleep and 
dreaming over a big day's work ahead, in which 
Moncrieff's double is slated to go over a 
dangerous waterfall in a canoe, and to have a 
light on the edge of a cliff — Larry gets up, 
dresses, and paddles off toward the meeting 
place. 



He charged like a demon, his lips writhing in a 
bestial snarl. But all the time, darting back and 
forth, careful to keep away from the edge, the little 
iiKin, an open knife in his hand, was seeking an 
opportunity for a quick thrust 



Scenario 



Illustrated by R. Van Burcn 



should turn. The mist was thinning but not enough to disclose 
anything familiar. He was helpless, held inactive while the 
minutes whirled away. 

At last he saw a burned pine stub some distance ahead. He 
knew it was on the right side of the narrows and turned in that 



direction. But when he emerged on the next open stretch he 
found it still enshrouded by fog. He could only take his bear- 
ings as best he could and drive across, but as he started his 
wrist watch told hun it was six o'clock. 

A slight breeze came up and helped Larry to keep his course 
but that soon failed and he paused, helpless. As he sat there, 
paddle trailing, a sound came to him. It was only a slight click, 
as of one piece of wood striking another, and that was all, but 
it seemed louder because it was the first break in the stillness. 

When it was not repeated he went on, paddling slowly. At 
last a shore appeared to the right and he went toward it, deter- 
mined to wait until the mist was gone. He knew he was too 
late, that there was nothing he could do now. Either Mar- 
guerite had kept her appointment and was gone or she was safe 
at the cabin. 



bo 




Larry told how he had conic to the cabin the previous afternoon and of the conver 
sation he had overheard through the window 



At half-past six the sun dissolved the mist as if by magic and 
to his surprise Larry found himself within a hundred yards of 
the rendezvous point. It was empty and he paddled toward it. 
There was no canoe in sight but as he grounded on the beach he 
saw, sharply cut in the sand, the mark where one hail been 
pulled part way out of the water. Beside it were the footprints 
of men and among them the small, clear impressions of a 
woman's boots. 

Larry sprang out and followed the tracks back to the woods 
from which Marguerite had emerged. They pointed only 
toward the water and he knew without further evidence that 
she had done what she intended to do from the first, that she 
had gone with her father, whom she feared and hated, rather 
than bring disgrace to the man who had befriended her. 

CHAPTER VI 

WHEN he realized what had happened Larry did not 
hesitate. He shoved his canoe away from the beach and 
turned it into the bay upon which Signor Zappettini lived. Ten 
minutes later he landed beside the dock at the cabin. 

There was no smoke rising from the kitchen chimney nor was 
anyone in sight and he ran up the trail and onto the veranda. 
Through a window he saw the maestro coming from his bedroom 
and without knocking he burst in at the front door. 

" Has she gone?" he cried excitedly. "Did she do it?" 

Zappettini looked at him in astonishment. 



'"Look!" Larry continued. 
"Look in her room. Is she 
there?" 

"I don't understand you. 
What is the reason for this in- 
trusion?" 

"Please!" Larry begged, and 
his agitation was so great and so 
sincere it impressed Zappettini 
with a sense of the importance 
of his question. " Go to her 
room and see if she is there." 

The maestro turned at once 
and went down the hall. In a 
moment he was back. 

'What has happened?" he 
demanded. " How did you know 
Marguerite was not there?" 

Haltingly at first, for he found 
himself suddenly embarrassed 
in a recital of affairs which really 
concerned him so little and his 
hearer so deeply, Larry told how- 
he had come to the cabin the 
previous afternoon and of the 
conversation he had overheard 
through the window. 

As Zappettini caught the im- 
port of what was coming he stag- 
gered back against the table and 
his face became deathly white. 
But he did not interrupt until 
Larry had told all he knew, nor 
even then did he abandon him- 
self to the excessive rage or grief 
the young man had expected. 

""Wait," he said quietly at the 
end. " She must have left some 
word." 

He returned to Marguerite's 
room but he had hardly gone 
when Larry called to him. 

"• Here is what you are looking 
for," he said, and he extended an 
envelope he had seen lying on 
the table. 

It was addressed simplv. 
"Maestro." 

Zappettini tore it open and as 
he read the tears started in his 
eyes. 

" Sir," he said brokenly as he 
laid the missive down, " there 
never was such a girl as Mar- 
guerite. She is all that is brave, 
all that is good. See what she 
has done. She has told me nothing of what you have. She 
has not even hinted at it. She has merely said that she is tired 
of it here, that she wishes to go out and see the world from 
which she has been held for so long. She even tells me that 
she does not care for me or my music, that it is driving her mad, 
that she can stand it no longer." 

" But she doesn't mean it !" Larry cried. 

"Mean it! Don't you see? She has made this sacrifice for 
me. She has sacrificed herself, ruined her career, her life, to 
save me. She has told me this so that I won't follow her. won't 
make an attempt to get her back. Oh, carci mia! Why didn't 
you come to me?" 

Eor the first time Zappettini broke down and the sight of 
the old man struggling against his grief held Larry silent for a 
moment. Then anxiety forced the question: 

"But you are not going to let her do this, let her go with 
him 2 " 

The maestro straightened. 

"No," he declared. "It must not happen. That man is a 
criminal, the leader of a notorious gang. I had thought he was 
in prison. He must have escaped." 

"Then it will be easy." Larry answered. " The law is on 
your side. He is a fugitive and there is no reason — " 

He stopped, suddenly aware that there was a reason. Zap- 
pet tini studied him closely for a moment. 

" Young man." he said at last, [ continued on page 113 1 



5G 



What 
Chance 

has a Man in 

Pictures? 






Malcolm- 
McGregor, 
Millionaire's Son, 
Tale Graduate, 
Athlete and 
Possessor of 
Magnetic 
Personality, 
Answers the 
Question from 
Hollywood 
Experience 



SAY, Griffith ought to see you!" exclaimed a noted editor 
and critic, formerly of D. W.'s staff, when he first met 
Malcolm McGregor a short time ago. 
Magnetism is the word that fits Mac. that vigorous 
instant charm of friendliness such as distinguished the late 
Wally Reid. The fact that he's handsome never occurs to you, 
because the fact that he's a good scout is so much more im- 
portant. There are many handsome men in the movies. . . . 

Yet with magnetism, good looks, breeding and real ability, it 
has taken Mac three years to crash the Hollywood gates and 
arrive in a position where producers are bidding for him. And 
he says, quite frankly, that he's been lucky. 

"The other day I went over the lists of leading men to find 
out how many came up from the extra class," he says. "I 
found just three — Jack Holt, Ramon Novarro and myself." 

We were on a set at the Metro studio. It was tilled with 
extras — a strange and motley crew with many a strange story 
behind them, the extras. That puny boy with the face of a girl 
was a gun man, a jail bird; that fellow stripped to the waist 
with the torso of a blacksmith is the son of a wealthy mine 
owner; the haggard girl, with the beautiful eyes, was once a 
queen of Broadway. 

Mac pointed to two old men in the corner, each of them over 
seventy, who were talking so excitedly they didn't hear the 
director's call. 

"They are old minstrel men." he said. " They met today for 
the first time in twenty years." 

On our way out of the studio, a man standing by the gate 
made a sign at McGregor, then hastily wrote on a pad. lie 
wrote: "I know you — you're Malcolm McGregor." And his 
eyes sparkled delight at the recognition. He was deaf and 
dumb. They shook hands, and Mac took the pad to ask what 
the man was doing there. He replied: "I came to go into 
pictures." 

We passed on in silence; the [ continued on page io.$ ] 



o. 




Athlete, 

Preacher, 

Actor 



By 
Lucile N. Tate 



A recent jilm recruit — and from the clergy — Fred Thomson, world's champion athlete 

and war chaplain, who believes his message will be more effective and more widespread 

from the screen than from the pulpit 



ALL-AROUND world-champion athlete, pastor. 
war chaplain and present motion picture actor and 
likes it! 
He discarded the ministerial cloth to enter pictures 
in order to reach the thousands because before, his words were 
heard, perhaps, faintly by the hundreds. 

From spiritual traffic cop, patrolling his beat and guiding his 
people over the rough spots, to serial stunt actor! And from 
pastor, who did everything except clean the carpets — and yet 
saved souls — to movie thrill performer doing everything and 
still engaged in saving bodies and souls. 

Fred Thomson makes his bow, the world's best athletic 
champion. And holder of that title for ten years! One 
unique in picture personalities, where the unique has become 
the commonplace, a parson actor! 

He believes in the age factor in saving as well as in selling, 
for the people who attend church are mostly the middle-aged 
folk who have heard all about Hell and brimstone ever since 
their infancy, and the young folk who need to be guided and 
helped over the cobblestones of life, go to the movies or the 



dance halls. And he is in the 
movies. 

Born in Los Angeles, Thom- 
son attended the Garfield 
School in Pasadena and was 
graduated from Occidental Col- 
lege. It was while studying to be 
an engineer at Princeton that 
his athletic prowess won for him 
the title of efficiency in every 
branch of sport from basket- 
ball and football to discus and 
javelin throwing. His medals, 
captured at meets and tourna- 
ments, would require more 
space than that offered by a 
Mexican general's frontage. 
And. incidentally, he carried 
away several citations from the 
World War. 

Selecting pictures for the 
theaters in the town in which 
he was pastor first aroused his 
interest in the movies, though 
Mary Pickford, too. played an 
important part in shaping his 
screen career. Meeting Thomson and impressed by his good 
looks — and he is good looking in a brown and big and blue-eyed 
way, she made him promise to play her leading man. And he 
did, in "The Lovelight," registering his first athletic thrill — a 
spectacular leap from a cliff into the sea. 

Mary, in turn, played the role of matchmaker in his life 
romance, introducing him to Frances Marion, scenarist. 
They met at a football game in 1°17 and were married 
in l l M9 upon his return from France, where he had served 
two years as chaplain with the L43rd Field Artillery. 

In "The Eagle's Talons" Universal presented him as co- 
star with Ann Little. And motion picture audiences had 
an opportunity to gasp and thrill over his aeroplane and 
motorcycle stunts. 

The transition from pulpit to studio was not difficult, for 
in the role of preacher he had to act far more than in the role 
of actor. 

A minister operating as a plain clothes man in the interests 
of Christianity, a fighter upon occasion, and all-around man. 
Fred Thomson. 



Who is Your Favorite Screen Beauty? 





Key«* 



{CATHERINE McDONALD 



MAY McAVOY 





April:* 



Hcssrr 



MARTHA MANSFIELD 



PATSY RUTH MILLER 





Evur 



COLLEEN MOORE 



MAE MURRAY 





Bull 



CARMEL MYERS 



NITA NALDI 




POLA NEGRI 





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ANNA Q. NILSSON 








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MABEL NORM AND 



EVA NOVAK 





JANE NOVAK 



MIMI PALMERI 





Seely 



Strauss -IV> ton 



MARY PHILB1N 



MARY PICKFORD 




Alfred Cheney Johnson 




Heswr 



MARIE PREVOST 



AILEEN PRINGLE 




Evons 




IRENE RICH 



ALMA RUBENS 





Strauss-Pay ton 



JOBYNA RALSTON 



MYRTLE STEDMAN 




~ 








R ^^ *& 1* 









Keyes 



GLORIA SW ANSON 



BLANCHE SWEET 





A 



"Kiel bourne Spurr 

CONSTANCE TALMADGE 




Melbourne Spurr 



NORMA TALMADGE 





ALICE TERRY 



Alfred Cheney Johnson 

MARY THURMAN 





Witzel 



VIRGINIA VALLI 



FLORENCE VIDOR 








llmscr 



LOIS WILSON 



CLAIRE WINDSOR 




Natacha and Rudie! 

"\7I0LA DANA and Shirley Mason appeared as Mr. and Mrs. Rodolph Valentino in the 
v Actors' Fund Benefit Show in Los Angeles and scored with the Argentine tango. The 
famous sisters proved great impersonators. 



67 



THE NATIONAL GUIDE TO MOTION PICTURES 




THE ACQUITTAL— Universal 

THIS picture has been skillfully adapted from Rita 
Weiman's play of the same name. It is a murder 
mystery — one that unfolds in a unique manner, through the 
stories that the witnesses tell during the trial. The court- 
room scenes are perhaps the most convincing and accurate 
that have ever been portrayed upon the screen, and the 
occasional bits of comic relief are funny without seeming out 
of place. The real kick comes after the accused man is 
acquitted of the crime. 

The direction, by Clarence L. Brown, is both subtle and 
unusual. This Tourneur pupil will go a long way! The 
excellent cast is headed by Claire Windsor, Norman Kerry 
and Barbara Bedford. And the mystery remains quite 
unsolvable to the very end. 




ANNA CHRISTIE— First National 

THE notable feature of this faithful and effective transfer 
to the screen of Eugene O'Neill's play is the remarkable 
acting of Blanche Sweet in the title r61e. Those who 
wanted Pauline Lord, the stage star, to play the role, may 
be consoled. Miss Sweet does the finest work of her career 
and leaves nothing to be desired. It isn't a pleasant story, 
but it holds the attention, and the direction of John Griffith 
Wray is notable for its directness and simplicity. There is 
no lost motion. Everything counts. Second only to the 
acting of Miss Sweet as the unfortunate Anna, is that of 
George Marion as her father, Chris, all of whose troubles are 
due to "that davil sea." Mr. Marion repeats the masterly 
performance he gave on the stage. While it may not be B 
picture for the children, no adult should miss it. 

68 



Th 



OW 



Shad 
Stage 

(REC. II. S. PAT. OFT £ "J 



A Review of the 7s[ew Pictures 




THE ETERNAL CITY— First National 

THIS is undoubtedly one of the most beautiful pictures 
ever filmed. It is also one of the most interesting and is 
one that no lover of the best in pictures can afford to miss. 
It has a charming love story, plenty of melodrama, fine 
comedy, sets that are exceptional in every way, some of the 
best acting of the year, and intelligent direction. What 
more can be asked? Of course, some liberties have been 
taken with the story. The recent war is brought in— al- 
though no war scenes are shown — and the scene of the 
returning soldiers is among the best in the picture. Director 
George Fitzmaurice enlisted the aid of Mussolini and 
hundreds of his black-shirted Eascisti. The scenes in the 
Colosseum at Rome where these men gather to give battle 
to the revolutionaries are most thrilling. Mussolini himself 
appears in several scenes and. to make the cast really all-star, 
the King of Italy also shows on the screen. Barbara La 
IMarr. as Roma, has the best role of her career and does by 
far her finest acting. She is beautiful, as always, and plays 
with a skill and spirit that she never before has equalled. 
Bert Lytell as the hero, and Lionel Barrymore and Montagu 
Love as the villains are excellent, but the real honors go to 
Richard Bennett as Bruno, an Italian vagabond. His acting 
is a delight. He plays with a lightness and sureness of touch 
that mark him as one of the finest actors of the day. 

Scenically, the picture is superb, and the photography is 
equal to the subjects. The views of Rome, taken from one 
of the hills; the shots in the Colosseum; the views along the 
beautiful roads shaded bv Lombardy poplars; the exquisite 
interiors, all aid in making this picture the height of camera 
artistry. Just one bit of advice. Don't miss it. 



SAVES YOUR PICTURE TIME AND MONEY 



The Six Best Pictures oj the Month 



THE ETERNAL CITY 
THE ACQUITTAL 
PONJOLA 



LONG LIVE THE KING 
ANNA CHRISTIE 
FLAMING YOUTH 



The Six Best Performances o] the Month 

Richard Bennett in "The Eternal City" 

Blanche Sweet in "Anna Christie" 

Barbara LaMarr in "The Eternal City" 

George Fawcett in "His Children's Children" 

Hale Hamilton in "His Children's Children" 

Anna Q. Nilsson in "Ponjola" 




LONG LIVE THE KING— Metro 

WE echo the title, for the king is Jackie Coogan. And 
anyone who doesn't wish long life to him is unfit to 
read the leading magazine of the screen! Jackie gives a 
performance that is full of fun and pathos — skillfully blended 
by the child's instinctive artistry. The story is a simple 
one, a few stirring days from the life of a small boy who is a 
Crown Prince, and who would swap his crown for a dog, 
very gladly. Surrounded by intrigue and affairs of state, 
his life menaced on every side, the youngster dares to run 
away — and learns to play marbles. Despite the punish- 
ments that are meted out to him, he decides to do it all over 
again and — at the height of his good time — hears the bells 
tolling the death of his grandfather, the king. Realizing 
the meaning of it all, and his new responsibility, he tries to 
hurry back to the castle — and falls into the blood-stained 
hands of a group of plotters. From this perilous situation he 
is saved at the critical moment by the faithful Nikky, his 
aide (played by Alan Forrest), and is rushed to the palace 
just in time to appear before his people and to look down 
upon them — from a balcony's height — with a tearful little 
smile. 

The direction is good — though not great — and so is the 
cast. But Jackie Coogan, as the tiny, winsome ruler, is the 
whole show. His magnetic personality outshines the other 
members of the production. The picture lives when he is in 
the foreground — which happens, fortunately, most of the 
time. Jackie remains singularly untouched by the proces- 
sion of birthdays. He seems almost more diminutive than 
ever, although his teeth — which are now parted in the middle 
— mark the passing of time. 




PONJOLA— First National 

AN intensely dramatic narrative of the African gold 
fields, with the action centering around a fugitive 
woman disguised as a boy, and a man who is drinking him- 
self to death. 

While in Paris Lundi Druro (James Kirkwood) saves the 
life of a beautiful, mysterious girl who is about to commit 
suicide. He is happy, confident of the future, in love. But 
a few months later, when Desmond, a slim youth, comes to 
Rhodesia, the same Lundi is a broken man. The boy be- 
comes a sort of secretary to Lundi. When the great moment 
comes, he is able to save a life, too — and a man's soul. 

The cast, throughout, is fine. Anna Q. Nilsson, most 
feminine of stars, makes a surprisingly good boy, and Kirk- 
wood could not be more convincing. 




FLAMING YOUTH— First National 

THERE are two outstanding features about this picture. 
One is the exceptionally fine performance given by 
Colleen Moore, and the other is the fact that it is distinctly 
an ultra jazz production. There have been many pictures 
of late, emphasizing the shortcomings of our busy and boozy 
younger set. The crowd of young people in "Flaming 
Youth" sets a pace that would be hard to follow. But, as 
the picture teaches, it is not entirely their fault. Some of 
the blame lies at the door of parents who have no control 
over their children and who cannot find time to exercise 
control even if they had it. Miss Moore's acting stands 
out, and that means a lot in a cast which numbers also 
Milton Sills, Sylvia Breamer, Myrtle Stedman and other 
screen notables. 

69 




THE VIRGINIAN— Preferred 

OWEN WISTER'S famous Western novel— a best- 
seller of its daj — has been transformed into an inter- 
esting and well-made picture. The cast and Tom Forman's 
direction are good and many of the settings are beautiful, 
especially those of the Wyoming cattle country. The mixing 
up of the babies, the capture and execution of Steve, the 
"when you call me that, smile" incident are all there. 



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WOMAN PROOF— Paramount 

DEFTLY tailored by George Ade to fit the engaging per- 
sonality of Thomas Meighan. The plot is not extraor- 
dinarily original, but, thanks to some good character 
sketching, to amusing subtitles, and delicate phrasing of 
scenes, it provides an hour of most agreeable diversion. Our 
"Tom's" disinclination to marry almost results in forfeiting 
the family fortune — until Lila Lee comes along. 







UNSEEING EYES— Cosmopolitan 

A SPLENDID picture — if you like snow. Taken in the 
Canadian Northwest, at more than the ordinary risk, 
there are blizzards, and ice-capped mountains and frozen 
lakes to co-star with Seena Owen and Lionel Barrymore. 
The director, Edward L. Griffith, has managed to transfer 
the soul of the country to the screen — without detracting 
from a melodramatic story of love and bravery. 



THE COMMON LAW—Selznick 

A SPLENDID entertainment saved from mediocrity by a 
capable cast. One of those '* why-do-they -do-it "' 
pictures with old-fashioned direction, terrific lighting, and 
studio interiors like convention halls. How models can 
dress as in this picture and be good girls is puzzling. Cor- 
inne Griffith and Conway Tearle lead the cast. Corinne's 
beauty shines through the poor photograpy. 



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HIS CHILDREN'S CHILDREN— Paramount 

A PICTURE thai goes a step farther in showing up the 
hard working younger generation. With a cast that, 
though excellent, is only a background for the splendid 
acting of George Fawcett, who is father and grandfather of 
an erring family. Bebe Daniels and Dorothy MacKaill have 
spectacular parts. But, next to Fawcett; Hale Hamilton, as 
the staid and respectable Rnfiis Kane, scores. 

70 




RICHARD THE LION-HEARTED— Associated Exhibitors 

FOR those who want their Richard to be blonde, 
blue-eyed and poetic, this picture will be a great dis- 
appointment. For Wallace Beery, as the Lion-Hearted 
Crusader, is a two-fisted, meat-eating he-man, who handles 
'em rough. And does it so well that his every uncouth man- 
nerism :is lovable. The story is taken, with not too many 
changes, from Scott's "The Talisman.*' 




PLEASl RE MAD -Metro 

TUST misses being a big picture, but worth while for any- 
one. The sort of picture the whole family may see. li is 
based upon Blanche Upright's novel, "The Valley of Con- 
tent," I he Btory of a happy small town family that was 
suddenly thrown into millions and a fast, insincere New 
York sot. Mary Alden's splendid work as the mot her is tin- 
outstanding feature of the picture. 



THE DRIV1N' FOOL—Hodkiruon 

IT seems as though everybody in the world is trying to 
duplicate the rating pictures that W'ally Rcid did so very 
well. Now it's W'ally Van who plays the gasoline-mad hero 
and — though he makes a good comedy-drama of a true to 
formula script — he falls short of the Rcid standard. There 
arc amusing moments and exciting moments and — with 
Patsy Ruth .Miller as the leading lady — romantic moments! 




THE DARLING OF NEW YORK— Universal 

THE problem thrashed out here was created not because 
it required an answer, but because Baby Peggy required 
a play. The plot, which deals with a gang of crooks, stolen 
jewels, and a lost waif, is the oldest in captivity. Neverthe- 
less, it is dramatic enough to hold the interest. The tiny star 
doesn't seem to quite know what it's all about, but it is her 
appearance in this picture that makes it worth seeing. 



DAVID COPPERFIELD— Associated Exhibitors 

THIS Swedish production is more than good — it is faithful 
to the well loved novel from which it has been adapted 
and, for the most part, the characters are well taken. The 
names of the players are unknown to us, although they 
doubtless have a large following overseas. But the boy David 
and Dora are especially well cast, and Uriah Heep seems 
perhaps the weakest link. For all Dickens' fans. 




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THE COUNTRY KID— Warner Brothers 

AN old-fashioned picture with three little orphans, a 
cruel uncle, a poor farm and all the rest of the celluloid 
pathos that is considered foolproof. Wesley Barry is the 
oldest of the orphans — he mothers and fathers the other 
two, who are made real by Spec O'Donnell and Bruce 
Guerin. A tear, and more than a dozen laughs, for every- 
body. And Helen Jerome Eddy to gladden all hearts. 



UNDER THE RED ROBE— Cosmopolitan 

HERE is another costume picture, laid in France in the 
bewigged and belaced days of Louis XIII, and with 
Richelieu as the outstanding character. Scenically and 
photographically it is a beautiful picture, but the story and 
direction are not so good. ■ Robert Mantell is terribly stagey 
as the great Cardinal, and John Charles Thomas is a rather 
awkward swashbuckling hero. [ continued on page ioi ] 

71 




William Fox, the one exchangeman 
out of fifty-eight, who dared give battle 
to the great Motion Picture Patents 
Company and who won his fight for 
independence 



Chapter XXII 



Richard A. Rowland, who sold his exchanges 

for a quarter of a million, built the present 

Metro company, and is now head of First 

National 



WHILE the courts re- 
sounded with the clash 
of battle between the 
Motion Picture Patents 
Company and the Independents in 
the lusty days of 1910-11, another 
campaign, based more upon strategy 
than law, was somewhat covertly 
and quietly under way. 

Down at 52 Broadway the offices 
of belligerent Jeremiah J. Kennedy 
were expanding across wide areas of 
floor space. 

Clerks, draughtsmen and statis- 
ticians bent over tables with acres 
of figures and blueprints. The\ 
were concerned with charts and 

curves and graphs which would have only added to the excite- 
ment and mystery of the motion picture men concerned if they 
could have had a glimpse of this mathematical forecast of their 
film fate. 

Fighting Jeremiah was engaged in the process of buying the 
motion picture distributing business from itself with its own 
money! And, it may be added, using its own credit to do it. 

The methods used were remarkable because of their arrant 
improbability and their extreme practicality as evidenced by 
results. 

In the eyes of many of the film men against whom Kennedy's 
plans were laid, lie was an arch villain. 

In the opinion of some of his jealous rivals for power within 

Copyright 1988, by Terry Ramsay* 

; > 



Romantic 
Motion 



Here told for the first time 

The secret of the little memorandum sheet which 
was Jeremiah J. Kennedy's Doomsday Book of the 
industry of the motion picture — a story of a secret 
code. 

The tale of a tiger— or how William Fox, alone 
among the exchangemen of the motion picture, made 
a stand against the Motion Picture Patents Com- 
pany and won a private war of his own. 

When D. W. Griffith scolded Arthur Johnson, 
famous star of 1910, and Biograph lost him to the 
newly formed Reliance, resulting in new careers for 
a whole arrav of now noted players. 



his own organization he was a full- 
blown Niccolo Machiavelli. 

In the opinion of the author he 
was a bearcat for figures. 

Kennedy wanted to acquire for 
the General Film Company all of 
the motion picture exchanges of 
value. His methods were so simple 
that they could not be understood. 
He set about getting all the infor- 
mation that could be had about 
them. 

The motion picture business has 
always been prone to a vast amount 
of gossiping. It was and is full of 
chattering, gesticulating people. 
Kennedy fomented gossip and set 
his espionage service to gather the 
results. 

Each motion picture exchange 
man presumably knew his own bus- 
iness and his own section of the 
country fairly well. Kennedy made 
it his business to know the whole 
country exceedingly well and to 
know just how much each exchange 
man knew. 

The campaign resolved itself pres- 
ently into a compact collection 
of data, abstracted most secretly 
and personally by Kennedy into a 
sheet that told him the whole story. 
This was written in a curious 
code, with half the figures on the sheet and the other half of 
the significant characters on a similar sheet, locked deep in 
Kennedy's safe at 52 Broadway. 

If by any remote chance Kennedy had lost his little black 
pocket memorandum book with that precious sheet in it the 
tinder could not have been a bit the wiser, unless he also robbed 
the sale. 

Hut Kennedy knew the figures well enough without the code. 
He had them in his head. And there was never the remotest 
probability that he would lose his head. 

By turning to his pocket edition of Doomsday, Kennedy 
could tell at a glance the essential facts about any motion pic- 
ture exchange in the United States and Canada, whether it be 






History °/ 
Picture 



the 



By 



Terry 



Rcimsaye 



in Amanita, Wahoo or the Bronx. The little black book 
held the secret of what the exchange was worth oo the basis 

of films owned and business done, what the owner thought 
it was worth, what he would ask for it, and, most important 
of all, the figure that Jeremiah J. Kennedy had decided that 
the owner was going to get for the exchange. It is hardly 
necessary to add that in no instance were these figures 
identical. The last was always lowest. In all these 
operations Kennedy did not have the unqualified support 
of the members of the Motion Picture Patents Company. 
It will be remembered from a remote chapter that Kennedy 
came into the picture business to be the undertaker for 
the Biograph Company which was 
sick unto death, and that he decided 
to cure its ills by the treatment of 
the entire industry. Some of the 
patients did not thoroughly enjoy 
the medicine, even though it was 
doing them good. 

So it came, as has been related, 
that when the General Film Com- 
pany was formed with a paper capi- 
talization of two millions of dollars, 
the only real money in the concern 
was fifteen thousand loaned to the 
corporation by Kennedy. 

Many of the picture makers of 
the Patents Company group timid- 
ly feared that they would lose all 
their customers among the ex- 
changes by starting the General 
Film Company in competition. But 
Kennedy had no notion that the 
General Film would be in competi- 
tion long. It was his program 
benevolently to assimilate the com- 
petition — on his own terms. 

So it came that the iron boss 
gathered unto himself in lieu of 
capital a strong state of mind and 
used it to acquire the exchanges 
previously licensed by the Patents 
Company. The net result was that, 
between April, 1910, and January 
1, 1912, the General Film Company 
bought the fifty-seven leading ex- 
changes in America, for $2,243,089 
in cash and notes, and preferred 
stock in the company of the face 
value of $794,000. All this in less than two years' time. 

It might appear strange that this Bismark of the screen was 
so able to work his will and plan with so many men over such 
a scope of territory. But it will be remembered that the con- 
trol of the Motion Picture Patents Company lay, to all prac- 
tical intents, in the hands of Kennedy and H. N. Marvin, of 
Biograph, who worked together with a harmony that was re- 
markable in the fussing chaos of film politics. Now all of the 
licensed exchanges with their clamoring demand from the 
theatres for film were entirely dependent upon remaining in the 
good graces of the Patents Company. If their licenses were 
revoked they got no more film. They could "go independent" 
or die, or both. Some did. The studios of the Patents Com- 



TI 11- remarkable panorama of the past <<t 
tlu- industry <>t the motion picture, un 
folded in these pages from month to month, is 
an amazing tale ol ^ onflict. 

It seems thai the history <>t the motion pic- 
ture, like that ot nations and all the affairs of 
men, is largely a progression from one war to 

the next. 

The motion picture, like what we sometimes 

are pleased to call Civilization, seems to have 
been pushed forward in its line of progress by 

the rivalries, jealousies and greeds ot the pic- 
ture makers. 

This chapter sets forth with especial force the 
growth that came to the Empire ot the Screen 
because of the oppressions of those who desired 
to control it as their own. Great men and great 
events are born of stress. Of stress there was — 
and is — plenty in the art of the motion picture. 

Here is a chapter vibrant with the tense 
struggles of the most competitive industry in 
the world, and laden with the drama of big and 
little business, glinted here and there by the 
humor and whimsy of big men in small mo- 
ments. T ~ „ „.. 

James K. Ouirk, Editor. 




Allan Dwan, now a Famous Players direc- 
tor, who was kidnapped from the old Essanay 
company by the camouflaged "O'Malley and 
Smith Advertising Company" 



pany group, Biograph, Vitagraph, 
Kalem, Edison, Pathe, Essanay, 
Selig, Kleine and others, constituted 
the world's greatest and most re- 
liable supply of film satisfactory at 
the box office. This gave the Gen- 
eral Film Company, through its 
Siamese twin connection with the 
Patents Company, a mighty club. 

There were many, many ways in 
which an exchange could be found 
guilty of violating its license agree- 
ment and incurring a cancellation. 
This situation was a large factor 
in inducing many of the exchanges 
to sell out — at the price listed in 
Kennedy's little black book. 

This price was always to be paid 
in twenty quarterly installments, 
reaching over a period of five years, 
in addition to a certain percentage 
of payment in stock in the General 
Film Company. The quarterly in- 
stallments were well within the 
profit-making power of the ex- 
changes. 

The plan was boldly and neatly 

conceived. The business was bought 

with its own earnings, and these 

shares of stock, which, in a slende r 

way, made the extinguished competitor a partner in the project. 

This element was just strong enough to make him keep the 

peace if he felt belligerent after selling out. 

The General Film Company swallowed up every licensed ex- 
change except one — the last and fifty-eighth on the list it did 
not get, and thereon hangs not only a tale but a tiger. 

That fifty-eighth exchange and its refusal to be taken by 
General Film resulted in giving the world of the motion picture 
the famous name of Theda Bara and a whole array of other 
spectacular superfluities. 

This fifty-eighth and last on the list was The Greater New 
York Film Rental Company, William Fox, president. 

There were many reasons why [ continued on page no ] 

73 




The real arid, the imitation. Two Betty Blythe backs; the one on the right in the original model, the one on the left that of Miss 

Catherine Owen who impersonates Miss Blythe in "The Whole Town's Talking" on the New York stage. Also, note the 

profiles. You may recall Miss Blythe as the lady who got by by a bead in " The Queen of Sheba" 

G O S S I P-E ast 6? West 



WELL, there's no getting away from it. 
Hollywood is pretty sad and dark these 
days. The slump has come, and it looks like 
the worst one in the history of the motion 
picture industry. Everybody is trying to be 
bright and cheerful, but the general atmos- 
phere is decidedly low. 

Production has practically stopped. Thou- 
sands of people have been thrown suddenly 
out of work. Weeks of idleness stare them in 
the face. Free lance actors and writers sec no 
prospect of work for some time to come. 

Famous Players-Lasky have announced a 
shut clown of ten weeks. Universal is to shut 
down shortly for an indefinite period. Some 
of B. P. Schulberg's people have been thrown 
out of work. Metro has one company work- 
ing, Goldwyn has one, and many independent 
producers are announcing layoffs until the first 
of the year. First National is the only com- 
pany in full production strength. 

•XT IF. reasons are numerous. First, over- 
*- production and over-expenditure. Millions 

of dollars arc tied up in big pictures which have 

just been released anil have not started bring- 
ing in returns. For six months, or a year, the 

industry has been piling costs up beyond all 

hope 01 return. Now it is overstocked with 
pictures Oil which. DO matter how great they 
may be, they will do well to break even. 
When a picture costs a million dollars or a 
million and a half, there is no possibility of 
making big money with it, or even getting fair 

74 



By Cal York 



ETTER, BE 

'eautiful THAN 

jATTERED / 
'?*IUY VOIR PRESENTS 
fc/EFORE CHRISTMAS 




Take the advice <>/ the Lady of the Tiger 

Skin. Miss Ailirn Priiuile. and do the 
gift-getting early. She accomplishes a 
lot in "Three Weeks" but she knows 

it takes longer for Christmas shopping 



return on the investment. Motion picture 
theaters are flooded with these stupendous 
productions. There is "The Ten Command- 
ments,'' which will go out with a cost of a 
million and a half against it; ''Ashes of Venge- 
ance" and " Scaramouche, " with $850,000 
charged against each of them; '"The Courtship 
of Myles Standish, " with $650,000 against it 
and an unfavorable critical review; Yon 
Stroheim's "Greed," with an enormous cost : 
"The Hunchback of Notre Dame," close to 
the million mark; "Rosita." a costly produc- 
tion; and the first two American Negri fea- 
tures, "Bella Donna" and "The Cheat." 
neither of them a success, with a big red mark 
on the books. 

The present investment in pictures which 
as yet haven't begun to pay off their initial 
cost runs into many millions of dollars and 
production must be stopped for a retrenching. 

ANOTHER reason is to knock salaries down. 
In a period of intensive productions, actors 
usually boost and Iwost their salaries until they 
demand so much that they kill the goose that 
laid the golden egg. The salaries demanded 
today by many actors and actresses are so far 
beyond reason that they make any picture too 
expensive for adequate returns. When ordi- 
nary leading men like Milton Sills will not work 
for less than Si. 750. and when practically un- 
known character actors like Arthur Edmunde 
Carewe demand $1,500, it is actually time to 
call a halt 




Just a couple of those millionaire extras 
of Hollywood. Left, Drexel Biddle and 
right, Craig Biddle, Jr. We hear that 
Craig has left the films for the real 
estate business and the dancing club 



There are many productions awaiting 
release, and the producer is going to force the 
exhibitor to work off those expensive pictures 
before a return to decent, normal pictures can 
be hoped for. 

In the past six months there have been no 
program pictures to speak of made by the big 
companies. They have been feature mad, and 
have looked on anything less than a ten-reel, 
$500,000 picture as a cheap little thing, cranked 
out over the week-end. 

Now the few independents who have made 
good, reasonable pictures which are good enter- 
tainment have something to offer the exhibitor 
and the public. 

And Hollywood is sort of wearing mourning, 
and waiting for the spring renewal, with its 
usual philosophy and empty pockets. Every- 
thing has quieted down, there is little entertain- 
ment, little excitement, and not the usual spirit 
of fun and good fellowship. Even the Boule- 
vard wits aren't wise-cracking much these 
days, because it looks like a long cold winter. 

/"'NNE Saturday morning not so long ago, two 
^-'very dirty small boys peeped into the 
Hollywood laboratory where Laurence Trimble, 
director of the famous dog star, Strongheart, 
was working. They admitted that they had 
walked a number of miles that morning and 
begged for a chance to "just pat Strongheart 
once." Mr. Trimble, who was just about to 
run a print of the new Strongheart picture, 
"The Love Master," in his own projection 
room, invited them in. He knew the difficulty 
of obtaining unbiased opinions of a picture 
while there is still time to remedy faults, and 




Dolores Cassinnetti as Pocahontas and 

Leslie Austin as John Rolfe in a scene 

from "Jamestown," the second unit of 

the Yale University Press "Chronicles 

of America" pictures 



decided these two specimens of American boy 
would be excellent critics for "The Love 
Master." When the film was over, they 
started to sidle out very shyly, and reluctantly, 
apparently afraid to speak. Mr. Trimble's 
heart sank to his boots, for he had counted on 
the picture's appeal to small boys. At last one 
of them looked up and with evident embarrass- 
ment said: "It's a great picture — but we've 
seen one we liked better. We liked 'Robin 
Hood ' better, but we like this next best we've 
ever seen." 

They were afraid they would hurt his feel- 
ings by putting "Robin Hood" first, but Mr. 
Trimble was thoroughly satisfied with their 
verdict and permitted them to pat Strongheart 
to their heart's content. 

HpHERE is a great deal of speculation going 
■*■ on in Hollywood right now in regard to 
Charlie Chaplin's future plans. Nobody knows 
what they are, apparently including Mr. 
Chaplin himself. He is to make more com- 
edies, but it is generally understood that they 
will be entirely different from the old ones. 
"The Pilgrim" completed Mr. Chaplin's con- 
tract, and he will now make his own pictures 
for United Artists, and he expects to do only 
big and impressive stories — comedy stories, of 
course. The first will probably be "The 
Clown," a story of his own that he has been 
wanting to do for years. 

He will also supervise a series of dramatic 
features, starring Edna Purviance, but when 
these will start or what they are to be, nobody 
knows. In the meantime, to the Chaplin fans, 
it's a long time between pictures. 

THERE is more in the announcement that 
Charles Brabin is to direct "Ben Hur" and 
that George Walsh is to play the title role than 
at first meets the eye. Tt reveals the power of 
diplomacy and the ability of one woman in the 
picture industry to get her own way by con- 

75 




Hail! Hail! "Our Gang's" all here. 

What the . Well, never mind the 

rest of it. Here are the fnds that appear 
in the ''Our Gang" comedies in their 
private Rolls-Royce, with Little Farina 
leaning over the starboard quarter. This 
is an assembled car, with a number plate 
for each section 



Which wouldn't even creep into this depart- 
ment if it were not for his rather weird choice 
of grandmothers! 

The lady of his heart is none other than 
Elinor Glyn and he adopted her out of sheer 
gratitude because she showed him his real 
place in the sun. It having been proved that 
he would not register in the movies, Craig wa.» 
going into the sordid world of business. Until 
Grandmother Elinor, with a sage nod of her 
head, decreed otherwise. 

"Do something worthy of your wealth and 
position," the lady is reported to have said. 
"Be a man. Craig. Give dancing lessons!" 

And so the — shall we say easily influenced? — 
young man took the advice of the noted 
authoress. And his new dancing class, which 
will be called "The Elite Sixty," is all ready, 
and waiting lor members. 



centrated effort and belief in the Tightness of 
her choice. That woman is June Mathis. Six 
months ago, June Mathis quietly confided to a 
few friends that Charles Brabin would direct 
"Ben Hur" and George Walsh would play it. 
Nobody paid much attention, because there 
was so much speculation and everyone had 
been mentioned for the two coveted jobs. But 
with her usual smiling sweetness, Miss Mathis 
went ahead in a direct line, writing the scenario 
and expecting her plans to work out. As usual, 
they did. Miss Mathis told me the other day 
that she had admired Charles Brabin more 
than any other director on the screen since the 
old days at — Lubin, I think it was — when he 
was a new director and she was an unknown 
writer and actress. She never forgot him and 
considered his directorial method perfect. She 
selected Rex Ingram to direct the "Four 
Horsemen" because he had worked under 
Brabin, and so she quietly waited to get him 
for "Ben Hur." And she got him. That's 
June Mathis. 

THEDA BARA is back in Hollywood and 
back at work. Before long the screen will 
see another Bara picture. It will be decidedly 
interesting to see what sort of work the 
greatest of all screen vamps offers upon her 
return. In the years that she has been off the 
screen, Miss Bara has spent her time in Europe, 
in the most cultured circles of the continent, 
and New York. She is actually as different 
from the Theda Bara of "A Fool There Was" 
as day is from night. Everyone in Hollywood 
has been much impressed by her intellectual 
charm, her simplicity, and her wide culture. 
She told me that she and her husband, Charles 
Brabin, were married in an apple orchard in the 
spring, and that she wore a simple organdy 
frock, just because she actually wanted to get 
away from the personality of the screen and 
the many things that had been rumored about 
that Theda Bara. 

Now that she is to come back, it will be 



// you ward to perspire freely this 
Winter, Inn's the way to do it. according 

to the motion picture formula. Run a 
fine rubber tubing up the back of your 
neck and through your hair to your fore- 
head. Then let someone press the bulb 
containing glycerine and water and the 
beads of perspiration uill run down 

your face very naturally 



worth watching to see just what sort of vehicle 
she will choose. Many offers have been made 
to her in the last few years but she has rejected 
them all. 

RAMON NOVARRO is on his way to Egypt, 
to play the lead in a picture which Rex 
Ingram will make there. Alice Terry, needless 
to say, will also play in the picture, the nature 
of which has not been announced. But the 
location is enough to make one pretty sure of 
the type it will fall under. 

Ramon, on his way to the land of deserts and 
sheiks, will stop off at the Canary Islands to 
visit his two sisters — who are nuns in a convent 
there. Ramon has a third sister, also a nun. 
All three of the girls are young and beautiful — 
one wonders why they have given up the world ! 
And one hopes that Ramon will not leave the 
screen — just as everybody's getting fond of 
him — to enter the religious life. 

CRAIG BIDDLE couldn't get any more 
publicity through reported engagements 
and disengagements. And so he changed his 
tactics, recently, and adopted a grandmother. 



■"THE football season in the West has done a 
*■ lot of damage to working days for certain 
stars. Douglas MacLean, whose father is a 
retired Methodist minister and much interested 
in the welfare of the University of Southern 
California, has toured all over the country fol- 
lowing the U. S. C. team on its playing 
schedule. He and Mrs. MacLean drove to 
Washington to see them play the University of 
Washington, and later came down to Palo Alto 
for the Stanford game, and then drove clear 
back to San Francisco a few weeks later for the 
California-Stanford classic. Doug is what he 
himself calls a "football nut." 

Priscilla Dean and Wheeler Oakman are also 
enthusiasts and can always be seen at the 
games in the new Los Angeles coliseum, and 
Mr. and Mrs. Harold Lloyd. Patsy Ruth 
Miller, Roy Stewart, Richard Dix and Colleen 
Moore and her new husband. John McCormack, 
haven't missed a game this season. 

Richard Dix, who never had time to go to 
college, thinks a man has missed half his life 
who hasn't seen his own team play football, so 
he has adopted Stanford as his own, and roots 
more violently than a lot of alumni. 

f CONTIXITD ON* PAGE QO ] 




76 




Just an Old OncReeler 

But ten years later it brought great happiness 



THEY call him "The Master." 
He is admired and envied by the 
world at large, cordially disliked 
by those who know him casually 
and loved by those who know him well. 

In his work he is a beneficent tyrant. Under his autocratic 
rule the stuff they make actors of is hammered, shaped, polished 
and refined, eventually being alchemized into idols of the screen. 
About the studio he is the court of last resort, the undisputed 
captain of the ship. What he says goes — and that's all there's 
to it. Fame and fortune come at his beckoning to those he 
appoints, yet a full-fledged star of his making is reduced to rank 
oblivion for a single lapse from doing just what the Master 
expects, and when he expects it. 

But, quite in the natural order, it was not ever thus. The 
Master found few soft spots and fewer helping hands in his 
long, uphill struggle for recognition. 

In the first place, he allowed himself to fall into motion pic- 
ture work, not because he wanted to but— well, one must eat. 
In those early days he despised the flickering photographs a lot. 
Their pretense maddened him and their crudity sickened him; 
but he went on. 

Yes, he had had other hopes, but now he must hide them 
away with his ideals of other days, just as he felt he must hide 
himself away from his friends of other days — now that he had 
become a motion picture director. 

But a turning-point came for him, just as it does for most of 
us, and his was a sharp one indeed. 

It seems that there had been taking place a transformation 



By Martin J. Qidgley 



Editor, Exhibitors Herald 



in what the camera had been recording 
which had wholly escaped the director 
for the very reason that, while he was 
striving doggedly to accomplish some- 
thing worth while, his innate prejudice 
against the whole business of the flickering photographs 
blinded from him a realization that, day by day, he was master- 
ing a new and wonderful method of thought transmission and 
dramatic expression which needed only a skilled manipulator 
to yield up a real art which, being phrased in the universal 
language of pictures, would enthrall the whole world. 

On the night of the great turning point the stuffy and dark- 
ened projection room was still except for the monotonous 
clicking, grinding and rattling of a wabbly projection machine. 
Suddenly there was a sharp, yet half-repressed, cry. The 
director leaped to his feet and his rickety chair clattered 
noisily over backwards. 

"Look, look — did you see that . . .?" he cried. "That's 
the stuff we want, that's the stuff we want," he repeated. 

As he gazed upon that screen it was transformed brilliantly. 
Enkindled by his imagination, he resurrected there upon that 
screen the long-dead splendors of Babylon, the picturesque- 
ness of an English countryside, peopled by actors engaged in 
portraying a great drama — and all of this was brought back as 
things of living realism to be seen and understood by the 
people of the day. He saw mankind awakened to the horrors 
of war more forcibly than it had ever been before; he saw love 
scenes made plain to all in only the way that the language of 
Shakespeare had previously been able to bring up for the 

77 



scholarly alone; he saw history, ancient, medieval and modern, 
reenacled understandingly for all. Altogether his imagination 
fixed upon that shabby curtain what the motion picture was to 
be and was to do! 

In the days immediately following the nocturnal revealment 
of the artistic possibilities of the motion picture the director 
worked feverishly, throwing every atom of his mental and phys- 
ical being into the task of achieving with these pictures in 
motion what he now knew to be possible. 

Unlike every predecessor among the arts, the motion picture 
did not receive its first recognition from the intelligentia, from 
those persons who customarily keep abreast of all developments 
which seem to point to a widening and improving of the mental 
scope and power of mankind. The first patrons of motion 
pictures were not patri- 
cians, swathed in cloth of 
gold, but rather the utter 
dregs of the great cities, 
clothed in tattered gar- 
ments, who held out 
enough from their supper 
money to be able to drag 
themselves from the un- 
friendly chill of the streets 
to the warmth and com- 
parative comfort of a 
rickety chair in a nickel- 
odeon. 

But even such barriers 
as these could not long 
stay the progress of this 
great new force, so dynam- 
ic, so influential and so 
far-reaching. The world 
soon bowed before it — and 
saluted its master. With 
each new picture greater 
than its predecessor and 
everyone of them being 
carried to the furthermost 
ends of the civilized world, 
bringing inspiration, new 
ideals and necessary diver- 
sion to countless millions, 
the Master soon became 
an international figure. 

Despite all this we found 
him alone on Christmas 
eve in the study hall of his 
studios which ramble over 
many acres of one of the 
hillsides that border the 
town of Hollywood, 
despondently and deject- 
edly complaining and be- 
moaning what, to my very 
great surprise, he called 
the failure of his work. 

The unquestionable 
fame which he acknowl- 
edged was his, he declared, 
to be but a mockery of what he had hoped for 
a hollow plaudit of the froth of society," he said. The pre- 
tentions of the business and its people he abhorred. He too, 
he feared, was rapidly sailing toward the port of lost ideals. 

"The picture ship is captained by a crew of money-maniacs," 
he snapped out as I exhibited surprise at his assertions. " What 
have we done, what have I done, with this marvelous instru- 
ment that has been intrusted to us? We have amused the 
people a little and, perhaps, we have made millions, but I tell 
you it has been a damn bad bargain. 

"With opportunities to really make the world a better place 
to live in, we have been satisfied if we got only a few handclaps, 
some money and we have let it go at that. Where have we, 
where have I, championed the liner things in life at the expense 
of a profit? Tell me, are we making a stuff that reaches to the 
hearts of the people, that takes those hearts and enkindles them 
with a better love of their fellows? Are our pictures messen- 
gers of good will on earth? Do they lend a hand in knitting- 
father and son, mother and daughter, husband and wife closer 
together? Are they doing anything to make mankind a 
happier family, outside of, perhaps, giving it a little men- 

78 



Hollywood's 

Eye, Ear, J\[ose 

&> Throat 

Specialists 




'Nothing but 



tal relaxation and a welcome rest from its customary worries? 
"I'll answer," he continued brusquely, "No, no, no — we 
have failed utterly in our opportunity. Many a verse of 
poetry and many a short story, scribbled off by some half- 
starved writer in a chilly garret, has accomplished better and 
finer things than all the pictures. . ." 

A strange mood, we thought, but obviously a sincere one. 
There was no doubt of the Master's discouragement. Xot only 
his speech but his manner proved this. 

As the chill of the California evening commenced to permeate 
the study hall, an elaborately liveried servant kindled a log 
fire in a huge Gothic fireplace at one end of the room. The 
director sat slouched down in a divan facing the fire and the 
brightly blazing logs cast dancing shadows on his head of 

curly white hair. The 
care-lined features of his 
countenance were given a 
ghostly radiance by the 
flickering blazes. Although 
his was a name trium- 
phant with the world, as 
he sat there he appeared 
as a figure of utter 
despondency. 

An awkward silence 
followed his outburst. He 
moved as if about to re- 
sume his tirade but in- 
stead turned, picked up 
a cigarette from a tabor- 
ette at the side of the 
divan and, continuing to 
look into the fire, he held 
a lighted match to the 
cigarette. As he flecked 
the burnt match into the 
fireplace a telephone bell 
jingled and he reached for 
the instrument. 

"Tell him I won't see 
him," he snapped sharply 
into the transmitter. 

Turning, he commenced 
speaking again. *' I'm go- 
ing to chuck it all." he 
said. "I'm tired, sick and 
discouraged. I've made 
my last picture. The 
world may call me a suc- 
cess, but I know too well 
that all I have done is to 
receive only a momen- 
tary applause and that 
I will shortly be for- 
gotten." 

There was a scuffling 
of feet just outside the 
door. 

In a moment the door 
opened and a figure 
hurtled through, obvious- 
ly having pulled away from two beruffled office attaches. 
The Master was annoyed visibly but sought to ignore the 
unwelcomed stranger. 

The persistent visitor was a man approaching the twilight 
of life. Slightly bent but with a firm step and assured manner, 
as if he were being awaited by the director, he walked to the 
end of the room and stood with his back to the fireplace. 

"Tell these men," he said in an authoritative voice, jerking 
his head toward the two office men who had followed him into 
the room with the obvious intention of removing him, since 
they had failed to bar his entrance, "that I have something to 
say to you and that we will not need them." 

The Master looked up quizzically, saying. " Well, what is it?" 
With this the clerks withdrew. 

"I've been an exhibitor for eighteen years." the stranger 
commenced. "I guess I've run every picture you ever made. 
But that's not what I'm here to tell you. . . ." He paused 
abruptly, passed a handkerchief over his forehead and con- 
tinued, "I've given up my theater; in fact, gave it to my 
operator. He's a line lad and I don't need it any more — since 
my partner died. . . ." [ continued on page i 20 ] 



THE SILVER CRAZY-QUILT 



"Stills and Titles" By Ralph Barton 



Unseeing Eyes 



This is Lionel and Seena 

Aviating through tin- wood: 




This is Wolheim looking meaner 
Than 1 even thought he could. 




This is Seena rendered snow-blind 

On a crag of glaring ice, 
Heading straight (the darling's so blind) 

For a horrid den of vice. 





Here the hero treats the villain 
To a round of fisticuffs, 

And single-handed tries to kill an 
Overwhelming band of toughs. 




His Children's Children 

I was duly aghast at the size of the cast; 
I would name them but they are too many: 
There is Hamilton (Hale) and Dolly Mackaill, 
Bebe Daniels, George Fawcett, Jim Rennie. 
I completely forgot to examine the plot, 
I was dazzled by this constellation; 
At least it was plain that old Grandfather Kaync 
Was distressed at the young generation. 

It dealt in the main with the Household of Kayne, 

Of wealthy and elegant station, 

Which came down in the world just as soon as it 
whirled 

To the jazz of the young generation. 



a 



Then the villain ties the hero 
To a rafter in the camp. 

The thermometer's at zero, 
So he overturns a lamp. 




After all this blood and arson, 
When the villain's justly dead, 

The hero goes and gets a parson 
And the happy pair is wed. 




<>£NSEN 

V4f?l£ OINESLN 

'AUNT §ETS£y 
TZoTwood ' 




David Copperfield 

I went to see these Swedish movements 
Thinking for to add improvements 
With the customary strictures 
That we hang on foreign pictures. 
But after I'd sat through it, 
I confessed I couldn't do it. 

(Though I've just received a letter 
Stating that it might be better 
Had the clever Swedes allowed 
The Swedish titles to remain; 
For then the fan who reads aloud 
Would try to pester us in vain.) 

79 



"Here's 
Roxey" 



By 

Martha L. IVilchinski 



S. L. Rothafel, who is known 
to all his friends as "Roxey," 
is the director of New York's 
largest motion picture theater, 
the Capitol. He always has 
had hundreds of friends, but 
since he has been broadcasting 
from W. E. A. F., the num- 
ber has gone into the thousand* 




DID you ever " tune in " on " Roxey"? Did you ever hear 
that warm, cheerful voice of his coming through the air 
from station W. E. A. F., saying: "Hello, folks. Well, 
here we are again." The milk of human kindness just drips 
from "Roxey's" voice. And he is just the same as his voice 
sounds. He isn't a brilliant speaker, this jovial director 
of New York's largest motion picture theater, the Capitol. 
He isn't eloquent, and sometimes his jokes are not always so 
good. But he has a human quality that rings through his 
voice, that gets your attention and holds it. 

His broadcasting brings him hundreds of letters a week. 

A doctor told him once that his voice over the radio was one 
of the best cures he could offer his patients. 

And "Roxey" — his name is S. L. Rothafel — lives up to the 
reputation his voice gives him. He is the perfect host in his 
big office at the Capitol. It must be said that, when you visit 



him, he does most of the talking, but you get so you like that. 
It's worth-while talk. Sit with him a while and watch his callers. 

A girl wants to sing at the Capitol. '"Roxey" hears her. 
"You have a fine voice, my dear, but you haven't learned how 
to use it. Study for a year and comeback." The singer leaves 
grateful and encouraged. An usher, accused of dishonesty, 
appears*. "Did you take the money?" asks "Roxey." The 
boy admits it. " Go back to your post and don't do it again." 
When he has gone, "Roxey" says: "If he had lied, I would 
have discharged him. But he'll make good now." 

And so it goes, from the time "Roxey" reaches his office at 
the Capitol in the morning until when, late at night, he signs 
off over the radio with a sometimes rather weary " Good night! 
God bless you!" He never has any spare time. But he never 
wastes any time. He's one of the best showmen in the world, 
but he's a lot more than that. He's — well, he's "Roxev." 



Why Should I Dress Up? By a Small Town Woman 



I AM a small town 
woman. My husband 
owns one of the largest 
mills in Indiana. We 
have all the money we 
need. We seldom travel, 
because he thinks his 
business requires close 
personal application. 

I belong to a bridge 
whist club, the member- 
ship of which is made up 
of highly respectable 
married women of my 
own age — around 45. 
We do not allow divorcees 
to belong; hence seldom 
get a thrill out of our 

assembling. 

I am a member of an 
amateur theatrical or- 
ganization which stages 

a performance each year, 

coached by a woman 
prominent because of 
her spinsterlike respect- 
ability. 

My days are as alike as two blasts on a steam whistle 
arise at seven, have breakfast with my husband, busy my 
chasing the maid about the house and calling attention to 

80 



As Related to Lucinda Reichenbach 




I there is nothing else to do. 
self at the top and read this through again. 
her my windows when there's no passersby? 



oversights, loll about 
until three, when one of 
the neighbors comes in 
with an inventory of her 
troubles. 

The first break in the 
monotony is the Chicago 
paper with its scare 
heads about divorces, 
marriages and hold-ups. 

Then comes dinner. 
Hubby tells of trouble at 
the mill or of good for- 
tune in business. The 
runabout stands before 
our door. After dinner 
his pipe — then we go 
down town. He drops me 
at the movie house and 
hies himself to the local 
billiard emporium. I see 
"Of Her Own Free Will." 
At ten he comes by for 
me and then we go home. 
I'm not sleepy. I would 
like a little excitement. 
But we go to bed, for 
\nd in the morning I — but start 
Whv should I dress 






Photoplay Magazini Advektising Section 



81 




THE COMPLETE 
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soften the cuticle and remove 
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Cuticle Remover and a Cutex 
orange stick. Then comes 
Cutex Liquid Polish or the 
new Powder Polish. Between 
manicures keep the nails 
smooth and healthy with a 
little Cuticle Cream (Comfort). 

Send the coupon below with 12c 
today for the special Introductory 
Set containing trialsizes of all these 
things. If you live in Canada ad- 
dress Dept. Q-i, 200 Mountain 
St., Montreal, Canada. 






The tiny brush 

holds just enough 

for one nail 



Cutex 




LIQUID polishes used to need an 
■> expert to apply them. Either 
they went on too thick and looked 
artificial or else they ran and formed 
lumps and ridges. But with the 
wonderful new Cutex Liquid Polish 
all these troubles are banished. 

First — the tiny brush that comes 
with each bottle holds just enough 
polish for one nail. So it is easy to 
get on the tight amount of polish 
and to spread it to an even thinness. 

Then — every other detail of this 
polish has been just as carefully 
planned to give the lovely lasting 
brilliance well groomed women want 
for their nails. Cutex Liquid Polish 
does not crack or peel off. It dries 
almost instantly. It keeps its bril- 



liance a whole week. Water will not 
dull its beautiful rose tinted lustre. 
The whole manicure keeps its fresh 
niceness longer. 

Needs no separate polish remover 

There is no bother with a separate 
remover. When you are ready for a 
fresh manicure just put a drop of 
the polish itself on each nail. Then 
wipe it off quickly before it dries. It 
takes off every trace of the old polish, 
leaving the nails smooth and clean 
for the new gleaming brilliance. 

Cutex Liquid Polish is the same price 
as all the other Cutex preparations — 
35c. Or you can get it in the $1.00 and 
$3.00 Cutex Manicure Sets. Sets with 
other polishes are 60c and #1.50. 



MAIL THIS COUPON WITH 12c TODAY 



Polish 



Northam Warren, Dept 

114 West 17th St., New York 

I enclose 1 2c in stamps or coin 

including a trial size of the new 

Name 


Q-x 

for new Introductory 
Cutex Liquid Polish. 


Set 


Strppr 


(or P. O. box) 
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When you write to advertisers please mention PIIOTorLAY MAGAZINE. 



She Sets the Styles for the Stars 








# 




A robe de nuit of black 
chantilly lace, with side 
lacings of narrow black 
velvet ribbon. On each 
side is a narrow accor- 
dion plaited panel of 
black chiffon 



/^LARE WEST, fashion designer for Norma and Constance 
^-'Talmadge, and formally creator of sartorial beauty for Cecil 
De Mille and Gloria Swanson, is regarded by Hollywood as the last 
word in exclusive and daring fashion predictions. Just now, she 
declares that, this year, evening gowns will be worn without stockings, 
underwear will be of black chiffon and black chantilly lace, and milady 
must expose practically all of her spina! column in the evening if she 
is to be really in vogue. Miss West has made five exclusive drawings 
for Photoplay, illustrating her prophecies. Miss West created the 
costumes for Norma Talmadge's "Dust 
of Desire," for "Ashes of Vengeance" 
and for "Secrets" — celebrated designs. 



This black velvet evening 
gown has a lo7ig slender 
train, which is caught 
about the wrist with a 
band of magnificent em- 
broidery. No stockings 
are u-orn irith it 





•» 



In tin's dinner frock, the arms arc 
COimed with full length sit crcs, but 
the ankles are bare of stockings. 
This is an crumple of the ex- 
tremely low buck which Miss West 
declares will be seen in all really 
elegant evening dresses 



82 



.1 negligee combined of the Chinese and the 
French note. The mandarin coat is of 7VSC 
georgette, embroidered in black and })cacock 
blue: the under drape is of soft gold satin 



The chemise combination, to match 
the chantilly lace nightgown, is 
properly worn under all afternoon 
and dinner frocks. With a straight 
ermine robe, lined with black satin, 
it may also be worn for the boudoir. 
Xotc the ermine tail garter 




zMr. Thomas zMeighan, too 



The tan boots worn by Mr. Meighan 
are instantly identified as shoes of 
quality by the Diamond Brand 
(Visible) Fast Color Eyelets. 
"Their genuine celluloid tops never 
lose their color. They promote easy 
Lcing, retain their original finish 
indefinitely, and actually outwear 
tne shoe. 



THOMAS MEIGHAN, romantic leading man of many 
successful releases, the screen embodiment of genial 
good humor and rugged honesty, gives unqualified en- 
dorsement to visible eyelets as a style essential and mark 
of quality on his footwear. 

Mr. Meighan knows that before the inquisitive eye of 
the camera, through which hundreds of thousands of 
persons scrutinize his wardrobe, he must appear in well- 
groomed correctness. He therefore insists that his shoes 
be finished with visible eyelets. 

The correctly attired, up-standing men of every commu- 
nity, no less than the country's screen favorites, are aware 
of the desirability of selecting shoes with visible eyelets — 
an assurance, in advance, that the shoes are stylish and 
of inherent worth. 

oAsk for shoes with risible eyelets! 



UNITED FAST COLOR EYELET COMPANY 

Manufacturers of 

DIAMOND BRAND (VISIBLE) FAST COLOR EYELETS 











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QUESTIONS and ANSWERS 



Betty, Won. as ton, Mass. — The girl who 
played Gladys Norworth in "Cordelia the Mag- 
nificent," in which Clara Kimball Young 
starred. i> Jacqueline Gadsden, Fox Film Cor- 
poration, 1401 Northwestern Ave., Los An- 
geles, Calif. 

Another Tootsie, Also of California. — 
Cullen Landis was born in Nashville, Tenn., a 
little less than thirty years ago. His height 
is five feet five inches, and he weighs one 
hundred and thirty pounds. His eyes are blue, 
his hair brown, and if you "are just crazy about 
him," as you say, you must have noticed that 
it is curly. Two children call him "Papa." 
John Bowers' photograph should be procurable 
through the Principal Features Corporation, 
7200 Santa Monica Boulevard, in your city. 
Pauline Garon's address is Associated Fir-t 
National Company, United Studios, Holly- 
wood, Calif. Florence Vidor's, Preferred Pic- 
tures, Mayer Schielberg Studio, 3800 Mission 
Road, Los Angeles. 

Tessee of Schenectady. — Ramon Novarro 
was born in Buango, Mexico. His true name is 
Samaniegos. To secure a photograph of him, 
address Metro Pictures Corporation, Holly- 
wood. Calif. 

Bob, Chicago, III. — The name of the tall, 
blonde player whom you so much admire is 
Anna Querentia Nilsson. She was born in 
Ystad, Sweden. Her height is five feet seven 
inches, her weight one hundred and thirty-five 
pounds. She married Guy Coombes in 1920. 
They were divorced, and in March, 1923, she 
married John M. Gunnerson, a wealthy shoe 
manufacturer. If you "get up the nerve to 
write her," address your courageous missives in 
care of the Associated First National Produc- 
tions. United Studios, Hollywood, Calif. 

Pauline, Portland, Me. — You will think 
me the " Greatest Thing in the magazine office" 
if I answer these questions. Watch my hand- 
springs, Pauline. Virginia Lee Corbin was born 
in Prescott, Ariz., 191 2. She has light hair and 
eyes the color of wood violets.- Her address is 
Fischer Productions, Hollywood Studios. Holly- 
wood. Calif. She will be featured in three pro- 



Y/OU do not have to be a subscriber to 
* Photoplay Magazine to get questions 
answered in this Department. It is only 
required that you avoid questions that 
would call for unduly long answers, such as 
synopses of plays, or casts of more than one 
play. Do not ask questions touching reli- 

fon. scenario writing or studio employment, 
tudio addresses will not be given in this 
Department . because a complete list of them 
is printed elsewhere in the magazine each 
month. Write on only one side of the paper. 
Sign your full name and address; only ini- 
tials will be published if requested. If you 
desire a personal reply, enclose self-addressed 
stamped envelope. .V'rite to Questions and 
Answers. Photoplay Magazine, 221 W. 57th 
St.. New York City. 



ductions, the first of which will be " Youth Tri- 
umphant." Her series of pictures was inter- 
rupted by serious illness. She has recovered 
from appendicitis. The boy who plays opposite 
her is Francis Carpenter. He was born July 9, 
1911. 

D. A., Los Angeles, Calif. — The actor for 
^he title role of "Ben Hur" is George Walsh. 
The legal ban on Rodolph Valentino's appear- 
and on the screen will be lifted February, 1924. 
One of his greatest successes was in "The Sheik." 

P. E., Colorado Springs, Colo. — Sorry to 
be unable to oblige you. Please read what is 
printed at the top of the Questions and Answer 
department. "Do not ask questions touching 
religion, scenario-writing or studio employ- 
ment." 

Sitty, Pleasant Hill, Ohio. — You would 
better try again, for most stars send their pic- 
tures upon request. Johnny Walker is twenty- 
seven and married. Cullen Landis was born 
July 9, 1895. He. is married. Irene Castle is to 
appear in a revue this fall. 

Brown Eyed Vamp, Baton Rouge, La. — 
Aye, aye. Miss. William Desmond is married. 
His first wife, Lillian Samson, died. His second 
marriage, which took place March 22, 1919, 
was to Mary Maclvor. Want to know the 



birthday and birth year of their daughter? 
Dee-lighted. I'll throw in the name for full 
measure. Mary Joanna, April 7, 1922. Kath- 
erine MacDonald is not related to Donald 
MacDonald. She is a sister of Mary MacLaren. 
Her matrimonial record follows. First husband 
Malcolm Strauss, artist and illustrator; second 
husband Charles Schoen Johnson, millionaire, 
of Philadelphia. 

Dorothy of Dallas, Tex. — You hope I 
won't give you "an awfully cool answer." Cer- 
tainly not, Dorothy, dear. Your engaging can- 
dor and Alice blue note paper merit one quite 
otherwise. Your mental picture of me is that 
I am "rather short and fat and jolly." As you 
like. Hang any picture of me you wish, in the 
hall of your imagination. I only insist that you 
like it. What you write me of Dallas convinces 
me that when you grow to be a big girl you will 
be an excellent real estate agent. And you are 
coming to school in New York this winter and 
want to see a motion picture studio in opera- 
tion. Better tell your teacher of your wish and 
ask him or her to write one of the motion pic- 
ture firms, asking permission for a group of 
students to pay such a visit. 

Belle, Wyoming, Ohio. — "Honor you by a 
long letter?" Dear Miss Belle, I am torn twixt 
duty and emotion. The editor thinks long let- 
ters, like long spee-hes, are mistakes. Now you 
beg a long answer. Let's see how long an an- 
swer we can " put over on him." True, since you 
stimulate my memory, I never met anyone 
who did not like Thomas Meighan. He was 
born in 1879, though his wife calls him Peter 
Pan because he will never grow up. You have 
scrambled, matrimonially, your Forrest s, 
Belle of Wyoming. It is true that Forrest Stan- 
ley is married to Marion Hutchins. So he could 
not be wedded to Lottie Pickford and be out of 
jail. Miss I'ickford married Alan Forrest. 

J. A. N., Meriden, Conn. — Your letter of 
compliments on her work in "Adam's Rib" 
should be addressed to Miss Pauline Garon, 
Associated First National Productions, United 
Studios, Hollywood, Calif., where she would 
find it on her return from her vacation spent 
in Canada and in Europe. 

85 



M. M., Galveston, Tex.— Mahlon Hamil- 
ton should be pleased to know that a girl of 
Galveston ranks him as her foremost movie 
favorite. Here are some of the essentials you 
crave. His age is thirty-eight. His wife was 
Anita Farnum. She is a sister of Dorothy Far- 
num, the scenario writer. His first name is pro- 
nounced as though spelled Mawlon. I have no 
doubt he chivalrously would forward a photo- 
graph of himself if you asked him Addre>s him 
care Famous Players Studio, Hollywood, Calif. 

Ruth, Brownsville, Penn. — I think your 
admiration of Rod La Rocque is well founded. 
He is a youth of twenty-five years. His eyes 
and hair are black. No, he is not married, nor 
have I heard that he is engaged. He is under 
a long term contract with the Paramount 
Studios of Hollywood, Calif. 

Miss Timidity, Paris, Tex.— "The Birth of 
a Nation," on its last visit, "reminded you 
that you are an American and a Southern 
woman" and made you proud of it. Then it 
served for more than merely entertainment. I 
hope David Wark Griffith will see this. Your 
memory is good. It was Henry Walthall who 
played The Little Colonel in that picture. 
Yes, House Peters is the other actor about 
whom you made your inquiry. 

Ned, Kansas City, Mo. — It is your opinion 
that Reginald Denny is the logical successor of 
Wallace Reid in the kind of parts that lamented 
favorite used to play. Mr. Denny and others 
should be interested. According to the best 
authorities Thomas Meighan was born in 1879. 

B. N., Chicago, III. — "Please tell Con- 
stance Talmadge that a patient girl goes to see 
the same picture of her two or three times be- 
cause she is her special favorite of the screen, 
and because it is such a long time between her 
pictures. Won't she make more each year?" 
And you want her to know that you think she 
and her sister Norma the most charming and 
natural actresses for the screen. Like Mercury, 
I bear a message to the goddesses, Miss Bertha. 
Constance Talmadge ippeared in"Dulcy"and 
has been engaged upon "A Dangerous Maid." 

Ruth, Warren, Ind. — You Indianians are 
noted for your brilliancy and thoroughness. 
There have been Booth Tarkington, George 
Ade, David Graham Phillips, Senator Brecken- 
ridge, and now you. Here is the budget of in- 
formation you demand. Lila Lee became Mrs. 
James Kirkwood on July 25. Her address is 
Paramount Studio, Long Island, N. Y. Ro- 
dolph Valentino has been married for a year or 
more to Natacha Rambova. In the period 
when the validity of his marriage was ques- 
tioned he lived at the Hotel des Artistes, No. 1 
West Sixty-Seventh Street. After the cloud 
upo:i his matrimonial title had been lifted by 
the pronouncement that his divorce from Jean 
Acker was legal, he joined his wife at her 
mother's, Mrs. Richard Hudnut's, apartment, 
at .so West Sixty-Seventh Street. Mar .Murray 
is the wife of her director, Robert Leonard. 
Their address at present is the Metro Pictures 
Corporation, Hollywood, Calif. May McAvoy 
lives in the enjoyment of single blessedness. 
Let l its should be addressed to her at The 
Famous Players-Lasky Studio, 1520 Vine St., 
Hollywood, Calif. Antonio Moreno married 
List year Mrs Daisy Canlield Dan/.iger, of Los 
Angeles. They reside at Hollywood. Dear 
Ruth, of Indiana, present other queries in a 
I tet letter. I answer letters, not write books. 
We limit the number of inquiries answered to 
live to each letter. 

Frances, Denver, Colo. — What do you 
mean, pachydermatous ichthyosauria? Well, 
at least it's a change from being accused of 
being handsome. 1 suspect you are in high 
school and have been studying zoology. You 
are different in another respect. Apparently 
you do not worship at the shrine of any he idol 
of the screen, but bend your knee to a dancer. 
Saying you "adore Anna Pavlowaand consider 

86 



her the mo-t wonderful person in the world" is 
bending the knee. Here is all about her that I 
know. She was born in Petrograd, in January 
31, 1885. Having given you that start your 
mathematics will assist you in determining her 
age. Her nimble feet were trained at the Im- 
perial Ballet school attached to the Marienska 
Theater of Petrograd. She became prima 
ballerina. Her first appearance in New York 
was in the ballet "Copefia." Subsequently she 
toured in the United States. She has made 
several tours of this country. In 1920 she ap- 
peared at Drury Lane, in London. 

E. S., South Norwood, Ohio. — Indeed! 
Theodore Kosloff has succeeded to the highest 
place in your screen estimate since Rodolph 
Valentino left the lots. Mr. Kosloff is a native 
of Moscow. He came to this country with the 
first Russian company imported by Morris 
Gest. His height is five feet, seven inches. His 
hair and eyes are brown. He is married, but 
has no children. His address is Famous Players 
Lasky Studios, Hollywood, California. Last 
summer he trained three hundred dancers for 
Cecil De Mille's "Ten Commandments." 



PHOTOPLAY receives many 
requests each month for infor- 
mation as to how to obtain photo- 
graphs of stars. Here is the accepted 
method: 

Write to the star, personally, care 
of the studio in which he or she is 
working, make your request, and 
enclose 25 cents to pay the expense 
of the photograph and mailing. 
The stars get hundreds of these re- 
quests and it is hardly fair to expect 
them to send these pictures free 
and pay the cost themselves. 



M. C, Lynn., Mass. — A girl with a single 
track mind. Acknowledges but one favorite. 
Such constancy shall be rewarded as it deserves. 
A photograph of your "wonder of wonders," 
Reginald Denny, can be secured in the usual 
way, by addressing him care Universal Studios, 
Universal City, Calif. 

L. C, Neosho, Mo. — Photographs must be 
applied for to Wallace Reid's widow: Write 
Mrs. Dorothy Davenport Reid, care Film 
Booking Office. 723 Seventh Ave., Xew York 
City. 

Margie B.. Norfolk, Va. — Your letter in- 
terests and touches me. I hope that your 
health will improve. Yes, your friend's advice, 
" Live as long as you can and die only when you 
can't help it," is good. I am sorry the pleasure 
you anticipate is denied you, for photoplays are 
seldom revived. 

Skeezdc of Violet Ink and Sioux City. Ia. 
— Most willingly. Forrest Stanley, Goldwvn 
Pictures Corporation. Culver City. Calif.; 
Glenn Hunter, Cort Theater. Xew York, N. 
Y.; Malcolm McGregor, Metro. Romaine and 
Cahungo Ave., Hollywood, Calif.; Marjorie 
Daw, Norma and Constance Talmadge Stu- 
dios, Hollywood, Calif. 

F. B., Elyixs, Mo. — Barbara La Marr has 
been featured in pictures. I agree with your 
estimate of her beauty. 

Laura S., Providence, R.I. — A maid of 
the town founded by Roger Williams is 
moved to inquire. Leon Barry's letters should 
be addressed to the Fox Film Corporation. 1401 
Northwestern Avenue. Los Angeles. Calif. 
Lionet Rarrymore spent the summer in Europe 
on his honeymoon with Irene Fenwick. Mil- 
dred Davis, care Harold Lloyd. Hal E. Roach 
Studios, Culver City, Calif. 



Bessie of Canton, Ohio. — Since you are 
moving with your family to California in the 
autumn you would like the address of your 
"screen idol, Richard Dix." Do you contem- 
plate a call upon Mr. DLx. or will you and your 
mother or sister or girl chum merely walk 
slowly by while viewing his residence? It may 
be finished by that time — the residence — for he 
is building a fine home in Hollywood. The 
master of the mansion is twenty-nine years old. 
His height is six feet. He would be classed as a 
heavyweight if he challenged Dempsey, for he 
lacks but two pounds of one hundred and 
eighty. His hair and eyes are brown. He is not 
married. 

Mrs. H. .A. K., North Loup, Neb. — With 
pleasure, Lady of the Wide, Wide Plains. Rex 
Ingram's address is Metro Pictures Corpora- 
tion, Hollywood, Calif. 

Gladys, Utica, N. Y. — You vary the mo- 
notony of address by beginning your letter 
"Dear Rupert." That's better than George. 
"Making a Man." the picture in which Jack 
Holt was featured, was released January 22, 
1923. Bessie Barriscale has made a long excur- 
sion into vaudeville. She was seen on the 
Orpheum Circuit from Canada to the Gulf of 
Mexico. Next winter she will try another 
comedy in New York. Billie Burke was to have 
tried out two new plays and possibly do a pic- 
ture in England last summer, but usually I 
have met her motoring or yachting. She spends 
much time enjoyably with her seven year old 
daughter, Florence Patricia. A hundred per 
cent mother. 

Betty W. of Port Huron. Mich. — Not 
purple paper, purple pasts, sweet Betty. These 
are the birth years you request. John Barry- 
more. 1882. Constance Binney. 1899. Betty 
Blythe, 1893. Charles Chaplin, 1S89. Marion 
Davies, 1898. Priscilla Dean, 1S96. 

"Me" of New York. — The milk of kindness 
flows through your letter. May I say that I 
like your name, not your pseudonym, but the 
name you confide to me and that shall be our 
guarded secret. That you should consider in 
this hurrying age whether your questions 
would help me to "get some more nickels, pen- 
nies, dimes or dollars, or whatever you get on 
the average for a question answered" touches 
my sometimes pebbly heart. Thomas Meighan's 
honest to goodness age — he "makes no bones" 
about telling it — is forty-four years, his height 
six feet. Yes. I believe it is in his best purple 
silk socks. One hundred and ninety pounds are 
distributed pretty evenly. His full name is that 
with which his audiences are acquainted — 
Thomas Meighan — "Only that and nothing 
more." 

Large Brown Eyes. Detroit. Mich, — 
Mary Pickford i- childless, save that she is the 

stepmother of Douglas Fairbanks. Jr.. who is 
making his first screen appearance at thirteen 
years of age. 

Polly. Depew, Oklahoma. — "Richard Bar- 
thelmess leads all the rest." according to your 
opinion. At least one other charming girl shares 
your opinion. That is Mary Hay Barthelmess, 
the "Missus" in the darkly fascinating hero's 
home. Mr. Barthelmess' age is twenty-eight 
Hi- summer home is at Mamaroneek. But 
since Mrs. Barthelmess began playing in 
"Plain Jane." the menage has moved to New 
York. Mr. Barthelmess' permanent address is 
Inspiration Pictures Corporation. 505 Fifth 
Ave., New York. Yes. Baby Marie Osborn still 
lend- her charm to the screen. It was Pauline 
Garon who played Tilley in "Adam's Rib." 
May McAvoy is unmarried and. as far as the 
Answer Man knows, is fancy free. 

Walter. Richmond Hill, N. Y. — "Your 
star" is Malcolm McGregor, and you want to 
know where you can write him so that he will 
surely receive the letter. Address him, Metro, 
Hollywood, Calif. 



I PLM MaGAZINI Ad> SING S \ 



s- 




earn from the women who tax 
their skin the most • • • 

and keep their faces loveliest 



TWO ESSENTIALS 
THEY NEVER FORGET 

The actress, the society woman, the 
modern young girl are the ones who 
have learned first how to care for their 
skin. Because they have been obliged 
to search and study until they have 
round the right way. In no other w iy 
could they go on subjecting their skin to 
the same conditions and keep it beautiful. 

The whole secret of their loveliness 
today lies in giving their skin regularly 
the two things they have found are in- 
dispensable in keeping a woman's skin 
young and supple. 

First — the kind of cleansing that frees 
their skin nightly from the tenseness 
of the day's strain and clears it of the 
collected dust and oil and cosmetics — ; 
restores its transparency and natural 
pliancy. This toning up at the end of 
every day is absolutely- 
essential. 

Second — they know it is 
imperative to render their 
skin immune at all times 
to strain, dirt, changes in 
temperature — to all the 
kinds of exposure that 
tend to coarsen it. 



The society woman knows how to be 
a zealous sportswoman by day and 
appear in the evening with delicate 
skin unmarred. She will not allow 
exposure to roughen or redden her 
skin, or fatigue to mark it with lines. 




MAE MURRAY 



Kdwin Mowi-i 1 



v*3 



The actress gives her complexion 
harder wear and demands more of 
it in return than almost any other 
woman. She must keep her skin 
fine and clear though she covers 
it with make-up. It must be fresh 
in spite of late weary hoars. Her 
very success depends on her finding 
the right way to care for her skin. 




THE FAMOl S METHOD 
THAT NfAKES IT EASY FOR THEM 

IWO distinctly different face creams, 
each beautifully designed for its special 
purpose — Pond's Cold Cream and 
Pond's Vanishing Cream. For years 
the whole effort of an old and much 
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women are using these two creams, 
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Just the right amount, and finest 
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Pond's Vanishing Cream, 
you have unfailing protec- 
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powder. Buy both creams 
tonight at any drug store 
or department store. The 
Pond's Extract Company. 



She insists on both — her career of cars 
and sports and the particular kind of 
complexion men bow to! 

How the modern young girl does it 
is perfectly simple — according to her. 
She just goes in for taking car» of it. 




EVERY SKIN NEEDS THESE TWO CREAMS— POND'S 

TWO CREAMS USED BY THE WOMEN WHO TAX 

THEIR SKIN MOST AND KEEP IT LOVELIEST 



SEND THIS COUPON WITH 10c TODAY 



The Pond's Extract Co. 
127 Hudson St., N.Y. 

Ten cents(lOc) is enclosed 
for your special introduc- 
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cream for two weeks' ordi- 
nary toilet uses. 



Name_ 



Streets 



City. 



_5/d/f_ 




When ycu write to idrertlsen pleaa PHOTOPLAY MAGAZINE. 




Wrong? 



Twelve college 

graduates adopt new 

professions to disprove his statement 

that college training \ills versatility 



LeRou Ellsworth Grooms, consulting mining 
ehemist, and (<it left) in " scene from "Three 
O'Clock in (In Morning" with Constance Binney 



PLAYING a minor role with Constance Binney in "Three 
O'clock in the Morning" is a tall, distinguished-looking 
man, slightly gray around the temples, who is making his 
screen debut. He is Le Roy Ellsworth Grooms, who has 
become a motion picture actor in an attempt to prove that 
Thomas A. Edison was all wrong when he said that college- 
trained men lack versatility. 

Mr. Grooms is a Cornell graduate and, for fifteen years, has 
been a successful consulting mining chemist, located in Nevada. 
Last June the Sigma Phi fraternity held a convention in New 
York. Twelve members of the fraternity met one night at the 
University Club in Brooklyn. Mr. Edison had just made the 
statement that his son, who was about to be graduated from the 
Massachusetts Institute of Technology, would continue his 
studies toward another degree. The famous inventor slated 
that he believed that college training put men in a rut and that 
thev could not change their Occupations at will and be success- 
ful.' 

The twelve Sigma Phi men, all of whom had been out of 
college for about fifteen years and each of whom had been 
successful in his chosen profession, decided to test Mr. Edison's 
theory. The suggestion came from Mr. Grooms, who knew 
that he and all the others were sufficiently independent finan- 
cially to be able to afford such an experiment. 

In the group of men who decided upon this test were three 
lawyers, two stock brokers, two civil engineers, one physician, 
one mining engineer, one author, one consulting mining chemist 
and one capitalist. They represented six colleges— Amherst, 

88 



Harvard, Dartmouth, Cornell. Purdue and Northwestern. 

The names of twelve professions were written on slips of 
paper. No profession was named which would require that 
a man should return to college to qualify for his new work, 
and no profession was named which was occupied by any one 
of the twelve. Each of the men promised to do his utmost to 
engage in the profession allotted to him and to devote one year 
to the test. 

The twelve slips bore the titles — steel, farming, lumber. 
automobile, motion picture actor, cattle, building construction, 
stage actor, haberdashery, electrical engineer, steamship and 
undertaker. Incidentally, it may be mentioned here, that one 
of the most successful lawyers in his state drew the undertaker's 
job. 

Mr. Grooms drew the slip which bound him to become a 
motion picture actor lor one year, and he is the first of the 
twelve to enter upon his new profession. He is thirty-nine 
years old and he has jumped from the field of exact science, in 
which he has been for fifteen years, into the world of make- 
believe. 

His trials and tribulations in seeking to enter his chosen 
profession were, at first, the usual kind. He says that after 
floundering about for some lime. -he secured proper introduc- 
tions and was offered a job by C. C. Burr, himself a college 
graduate, at the studio at Glendale, Long Island. He found 
that director Kenneth Webb was also a college man and he 
was cast as a "'business man type." His experiences from that 
time Mr. Grooms tells himself. [ continued ox page 12S ] 



Photoplay Magazini Advertising Section 



89 




Did he have a right to suspect her? 



DUNBAR was in a terrible state of mind. He was worried 
sick about his wife. He was madly in love with her and 
she had been acting very strangely during the past several months. 
The thing that troubled him most was that she now responded 
very reluctantly to his affectionate advances. She wouldn't 
even let him kiss her. The whole state of affairs was driving 
him mad. He suspected everything. And, yet, he alone was to 
blame. 

* * * 

That's the insidious thing about halitosis (unpleasant breath). You, yourself, 
rarely know when you have it. And not only closest friends but wives and hus- 
bands dodge this one subject. 



Sometimes, of course, halitosis comes from some deep-seated organic disorder 
that requires professional advice. But usually — and fortunately — halitosis is 
only a local condition that yields to the regular use of l.isterine as a .nouth wash 
and gargle. It is an interesting thing that this well-known antiseptic that has 
been in use for years for surgical dressings, possesses these unusual properties as 
a breath deodorant. ' 

It halts food fermentation in the mouth and leaves the breath sweet, fresh and 
clean. Not by substituting some other odor but by really removing the old one. 
The Listerine odor itself quickly disappears. So the systematic use of Listerine 
puts you on the safe and polite side. 

Your druggist will supply you with Listerine. He sells lots of it. It has dozens 
of different uses as a safe antiseptic and has been trusted as such for a half a 
century. Read the interesting little booklet that comes with every bottle.— 
Lambert Pharmacol Company, Saint Louis, (J. 5. A. 




When you write to advertisers please mention PHOTOPLAY MAGAZINK. 




James Kirkwood and his wife, Lila Lee, on Mr. Kirk /rood's first appearance 
at the studio after his serious accident. King Vidor seems glad to see him 



AFTER a brief courtship, Irvin Willat. 
■* »-motion picture director, and Billie Dove, 
pretty screen actress, were married in Santa 
Monica the other day. They had planned to 
keep the wedding secret for some time, but it 
leaked out and very soon their friends were 
exclaiming in surprise and rushing around to 
congratulate them, so they announced the 
ceremony. 

DEGGIE DENNY is still living in a dark- 
■*-*-ened room and wearing an eye bandage as 
the result of a serious injury suffered on the set 
with lights. Reggie was standing directly in 
front of a big sun arc, gazing off stage into it. 
when an electrician by mistake turned the arc- 
on. The full glare hit Reggie directly in the 
ej'es and completely blinded him. The strain 
was so great that, after his sight returned, 
three days later, the doctors still insisted upon 
complete rest for his eyes so that no further 
complications might result. Pretty Mr.-. 
Denny and the seven-year-old Denny heiress, 
Barbara, are in constant attendance. 

By the way. just to show you that we have 
old-fashioned neighborly ideas in Hollywood, 
Mae Murray declares that the Reginald 
Dennys are the nicest neighbors. "Reggie is 
always slipping over to the back door before 
I*m up with some ducks, or a bag of quail, or a 
piece of a deer, or some lovely mountain trout." 
she said the other day. "He is always out 
hunting or fishing for something and because 
we live across the street we"re lucky enough to 
share in the spoils. It's so nice to have nice 
neighbors, isn't it?" 

SOMEBODY gave Corinne Griffith a very 
fine and very good looking wire-haired fox 
terrier, and Corinne is devoted to her new pet. 
but she says he'll probably land her in jail yet. 
She was in a smart shoe shop in the Am- 
bassador Hotel the other day, looking for 
slippers, and friend dog was along. Suddenly 
he made a leap, dashed across the corridor and 
plunged into a window full of large rubber balls 
in the drug store opposite. By the time 
Corinne arrived, breathless, he had assassi- 
nated four of them, at a cost of one-fifty apiece. 
Gathering him under her arm, she went back 
to the shoe shop, only to find him three 
minutes later making hay of a pair of gold eve- 
ningslippers, worth, as every woman knows, a 
week's salary. And when she took him out and 
parked him in the car he ate a hole in her new 
velour upholstery. 



[ CONTINUED FROM PAGE 76 ] 

T\ THAT is reported as the most remarkable 
W preview ever staged happened last week 
in San Francisco, when "The Dramatic Life of 
Abraham Lincoln" was shown in a big theater 
there. The film went on unannounced after 
the regular picture, and the audience simply 
went wild. Twenty-two wild rounds of ap- 
plause, five cheers, and continual tears and 
laughter were the report of unbiased spec- 
tators. Twice the audience rose to its feet 
spontaneously, and so great was the excitement 
within the theater thai a crowd gathered out- 
side. After the first run the audience insisted 
on the picture being run over, and they stayed 
until after one o'clock to see it. 

And it didn't cost a million dollars to make, 
either. There is some impressive stuff, but the 
picture has a note of sincerity and simplicity 
that raise- it from the realm of glittering enter- 
tainment into true art. 

KTATURALLY, they keep that sort of thing 
^■^•dark, but there seems to be no question 
that Joseph Schildkraut has been a terrible 
disappointment to the Norma Talmadge 
organization. He didn't live up to specifica- 
tions For " Dust of Desire" and it i- practically 
Certain that he won't play Romeo. Aside from 
being too hard to handle, he seems to lack a 
certain tire and pep in much of his work. 

90 




Here is Mildred Dan's [Mrs. Harold lAoyd) taking Harold for a ride. This 

happened at Atlantic City, anil Harold looks happy in spite of the desperate 

expression on the face of his demon ehanffcuse 



Photoplay Magazini Advertising S >n 



9» 





- 

II ■ undbrrml last/ 
5 .... tilting in tin 
. ■ — /'//.■/ wbtrt 
nged. 
She quickly raised 
btrlitth mask upto her 
as Ik approached. 
"Oh, never mind, 
FairStraHger— I ■ 
who you are. Yon are 
it rose disguised 
Beautiful Lady. " 



Protecting your skin 

with powder and rouge 

By Mme. Jeannette 

OH, you lucky women of today who know — or can learn — 
the pleasant roads to Beauty through fragrant avenues of 
cosmetics that help and do not harm! It is a proven fact 
that good cosmetics actually benefit the skin. 



A pure, harmless vanishing cream, 
powder, or rouge, such as 
Pompeian, performs a distinctly 
beneficial service to the skin, in 
addition to its beautifying effect. 

This service is that of protec- 
tion. Creams, powders, and rouges 
all put a soft, gossamer film over 
the delicate surface of the skin ' 
that guards it from sun and wind, 
dust and dirt. 

Again, the lip stick tends to 
protect the lips from chapping, 
roughening, and cracking. It keeps 
them soft and mobile. 

Pompeian Day Cream (vanish- 
ing), Pompeian Beauty Powder, 
Pompeian Bloom (the rouge), 
and Pompeian Lip Stick, like all 
Pompeian Preparations, are abso- 
lutely pure and harmless. They 
are formulated with a care as great 
as though they were intended for 
medicinal uses and in a laboratory 
always scrupulously clean. 



Beauty Powder 

BLOOM (the rouge) 

Lip Stick 

Fragrance 
Night Cream 

(cold cream) 

POMPEIAN LABORATORIES, CLEVELAND, OHIO 
Also Made in Canada 



Coupled with their purity will 
be found the other desired qual- 
ities of cosmetics — naturalness ot 
effect, high adhering property, 
attractiveness of perfume. 

Do not overlook the impor- 
tance of the Day Cream in achiev- 
ing the most successful effects 
from the use of other Pompeian 
" Instant Beauty " Preparations. 
This cream provides a foundation 
for powder and rouge that makes 
themgo on moresmoothly, adhere 
much better, and blend with each 
other more perfectly than when 
they are used without it. 

V 
"Don'tEnvyBeauty—UsePompeian" 

DAY CREAM (vanishing) 60cperjar 

60c per box 

60c per box 

25 c each 

25c a can 

60c per iar 




Get 1924 

Pompeian Panel and 

Four Samples 

For Ten Cents 

The newest Pompeian 
art panel, done in pas- 
tel by a famous artist, 
and reproduced in rich 
colors. Size 28 x 7J in. 
For iocents we will 
send you all of these: 
The : 924 Beauty 
Panel, " honeymoon- 
ing in the Alps," and 
samples of Day Cream, 
Beauty Powder, 
Bloom and Night 
Cream. Tear off the 
coupon now. 




BmSS3!r^S^g2SX£rSSSK23SHS2eSS53 



IS YOUR SKIN 
A (.RATI I II. SKIN.' 

'1 bete 1. .hi Intriguing lovelii 
.iluun .1 1 leu skm. 

Rose-petal enchantment! <>t the 
skm are nun h m.>ii- possible to 
attain than the average woman 
realizes. 

Pompeian Night Cream is a 
necessity to tins cultivation oi .t 
lovely skin. I ns.m-m.uk. iblc cleans- 
ing cream, and at the same time it 
h.is properties that make it healing 
and softening to the skin. 

A Cleansing Cream 
A dirty skin docs not always de- 
clare its uncleanliness by an im- 
mediate appearance of being dirty. 

Pompeian Night Cream is su- 
premely effective as a cleanser. It 
is pure, and scientifically com- 
pounded, and effectively accom- 
plishes its work in cleaning the 
skin. 

Just before retiring, and while 
your skin is still warm from the 
pleasant exercise of your bath, 
apply the Night Cream to your 
face and neck and shoulders. Use 
your finger tips for the application 
of the cream, rubbing it in swift 
little circular movements. This 
will loosen the dirt and release the 
closed pores to healthy activity. 
Wipe off with a soft, clean cloth. 

A Sojtening Cream 

The continued use of soap and 
water will make the average skin 
very harsh, and this harshness en- 
courages wrinkles and other skin- 
unsightliness. Pompeian Night 
Cream counteracts this tendency 
and softens with its healing 
qualities. 

If your skin is very dry it will 
be helpful for you to use this 
cream every morning and night 
regularly. But if your skin is oily 
it will be sufficient to give it a 
thorough cream bath at night only, 
following it with a quick ice rub. 



h 




i.CUu^i4Z^. 



Specialiste en Beaute 



A. 



© 1923. The Pompeian Co. 



L 



TEAR OFF, SIGN, AND SEND 

POMPEIAN LABORATORIES 
2131 Payne Avenue, Cleveland, Ohio 

Gentlemen: I enclose 10c (a dime prcferrr 
1924Pompeian Art Panel, "Honeymooninginthe 
Alps," and the four samples named in otrer. 



City- 



What shade of face powder wanted? 



When you write to advertisers please mention PnOTOPLAT MAGAZINE. 




There are a lot of people ivho think Irene Rich is one of the most fascinating 
women on the screen. After seeing her in "Rosita," we agree. She is also 
a renowned tennis player and here she is with her davghter (at left,) and one of 
■ the daughter's friends, after a set at Hollywood 



THERE are millions of men and women in 
the United States who want to be scenario 
writer-, really to belong in the moving picture 
world, to earn large incomes, to travel. Well, 
it can be done, as John Lynch says in the 
December issue of Photoplay. The proof? A 
few days ago Miss Bradley King reached the 
last rung of the ladder. She sailed for Europe 
to get local color for her future scenarios. Born 
in Xew York, she went into pictures in Cali- 
fornia as an extra girl, determined to find her 
way into the writing of pictures. Now she has 
a salary larger than that earned by most bank 
presidents. Some of her recent pictures are: 
"Her Reputation," "A Man of Action." 
"What a Wife Learned." and what is probably 
going to be Blanche Sweet's greatest picture, 
"Anna Christie." It just shows what a girl 
can do if she works and works. 

A/f AY McAVOY passed through Chicago 
■'■''■'■recently on her way to Hollywood. She 
stayed in Chicago three days and. when she 
resumed her journey westward, she wore a 
large and expensive diamond ring which she 
did not have when she arrived. Glenn Hunter 
is playing in the stage version of "Merton of 
the Movies" in Chicago. The visit and the 
ring promptly revived the rumors which were 
prevalent in the East shortly before of an en- 
gagement. Mr. Hunter refused to talk. Miss 
McAvoy also refused to talk, but — she wore 
the ring. 

They do say, around the Famous Players' 
Long Island City studio, that Glenn started for 
church one Sunday last fall when he and May 
were making "West of the Water Tower." and 
that he cajled on May instead. That was the 
time, say the gossips, when he asked the 
question which resulted in the wearing of the 
new ring. 

IT came as a surprise to the film world, the 
announcement of Hope Hampton's marriage 
to Jules E. Brulatour. Mr. Brulatour has long 
been interested in Miss Hampton's career, and 
their names have often been linked together. 

It came about in a rather curious way, the 
making public of their marriage. For they 
were mai ried in Baltimore last August, and had 
planned to keep the ceremony secret for some 
time. But coincidence has a long arm. and it 
chanced that a certain marriage license clerk in 
Baltimore went to see the picture called "The 
Gold Diggers." And when Hope, as digger-in- 
chief, was flashed upon the screen, he easily 
identified her as one Man- E. Hampton, aged 
23, whose marriage license he had made out. 
Being a thoughtful man he telephoned his d^- 



"But he' 
slow smile. 



so cute," says Corinne, with her 



T\7ATTERS0N R. ROTHACKER, who 
*v develops and prints the motion pictures 
you see, is offering prizes — of $100, $50, and 
$25 — for the three best slogans on Rothacker 
prints and service. This work has become a 
fine art and much of the success of a picture 
depends on the brilliancy and the painstaking 
effort which brings out all the detail. The con- 
test is open to exhibitors, including theater 
employees, as well; all exchange workers, from 
office boy to manager; and all members of 
motion picture production companies. No 
limit is placed on the number of words that 
may be submitted, but brevity is likely to score 
heavily with the judges. The following will 
select the prizewinners: James R. Quirk, 
Editor of Photoplay Magazine; Martin J. 
Quigley, Editor of Exhibitors Herald; and 
William A Johnston, Editor of Motion Picture 
News. 

During the making of "Tin Warrensof 1 ir- 
ginia" at the William Fox studios Director 
Elmer Clifton played Simla Claus for his cast. 

From lift to right in this picture are Mr. Clif- 
ton, George Backus, Rosemary Hill, Martha 
Mansfield and Jimmy Ward 

92 




Photoplay Magazine Advertising nh im\ 



93 



Why, Without Realizing It, You May Need 



for Economical Transportation 



CHEVROLET 



There are three main groups of prospective buyers of 
Chevrolet automobiles and commercial cars. 

First, are all who know from comparisons or through the 
experiences of friends that Chevrolet provides the 
utmost dollar value in modern, economical transpor- 
tation of people or merchandise. This group constitutes 
our spontaneous market; its members walk right into 
our dealers' places of business and buy Chevrolets. 

Second, the large group of people with modest incomes 
who have the false impression that so good a car as 
Chevrolet is beyond their means. 

They do not realize that due to engineering excellence 
and full modern equipment, Chevrolet operating and 
maintenance costs average so low that during the life of 
the car, it delivers modern, comfortable, fast transpor- 
tation at the lowest cost per mile, including the purchase 
price. 

The tremendous growth of our business during the last 



two years has been due to the shifting of thousands 
from this group to the lirst group. 

Third, the smaller but very important group of people of 
ample means, able to buy the highest priced cars, only a 
small percentage of whom as yet realize that Chevrolet 
combines quality features of much higher priced cars 
with such operating economy that as an extra car it 
virtually costs them nothing, due to the reduction in 
their transportation expenses effected by it. 

Every 2- or 3-car private garage in the country should 
have at least one Chevrolet for daily use going to and 
from work or for milady's shopping, neighborhood calls, 
taking the children to school, etc. 



<^> 



«fc> 



•<4? 



This message, then, is addressed to all in the second and 
third groups. We respectfully suggest consideration, 
investigation and comparison of Chevrolet with any other 
car at any price. The result will be to our mutual benefit. 



Chevrolet Motor Company, Detroit, Michigan 



Five United States manufac- 
turing plants, seven assembly 
plants and two Canadian 
plants give us the largest pro- 
duction capacity in the world 
for high-grade cars and 
make possible our low prices. 

Chevrolet Dealers and Service 
Stations everywhere. Applica- 
tions will be considered from 
high-grade dealers only, for ter- 
ritory not adequately covered. 



Division of Qeneral Motors Qorporation 



Prices f. o. b. Flint, Mich. 

Superior Roadster ... $490 

Superior Touring . - - 495 

Superior Utility Coupe - • 640 

Superior Sedan .... 795 

Commercial Cars 

Superior Commercial Chassis 395 

Superior Light Delivery - 495 

Utility Express Truck Chassis 550 




H'lieu you write to advertisers please mention PHOTOPLAY MAGAZINE. 




Long, long ago — not in years, but in motion 
are history — Viola Dana and her sister 
ShirL 1/ Mason appeared in a Kodak adver- 
tising movie entitled "The Kodak H< 

Viola is the young lady in checked 

gingham, Shirley is the second child to her 

left. 1'ilo'f. a snapshot of Viola, made with 

the to-be star's own little brownie camera. 

She hasn't changed much, hat 



possibly convince Marie that a smile is any 
relaxation). 

"No," he told her, "you do not have to 
laugh some more today. Go home an' rest. 
Maybe some more laughs tomorrow!" 

That's how Marie laughed her way into a 
workless afternoon. 

AND now it has been announced that Anita 
Stewart is going to take a flyer into vaude- 
ville, that Tom Moore will open, this winter, 
in a Broadway play, and that Bessie Barriscale 
will also produce a legitimate drama. Lowell 
Sherman is packing 'em in at "Casanova." and 
Alice Brady is considering a comedy. Sessue 
Hayakawa will desert the screen for the stage 
and Pauline Frederick is thinking about it. 
But here is a ray of light. Xaomi Childers — 
she of the cameo profile — and Alice Joyce are 
about to return seriously to the silver sheet. 

AND now William de Mille has thought of 
an appeal to the senses that goes even 
brother Cecil one better. Only William is 
making use of the sense of smell in his produc- 
tion of better pictures. No soft violins for 
\l illiam de Mille. No furs and satins and 
tiger skins and jewels. William finds out the 
name of his leading lady's perfume, gets a 
bottle (of the perfume) and pours a goodly- 
portion of it into a saucer. And then, when 
the lady is called upon to emote, he turns on 
an electric fan, just behind the saucer, and a 
perfumed breeze blows across the set. 

And. take it from William, the result is 
worth the trouble. 

STARS may get admiring letters and re- 
quests for photographs. But S. L. Roth- 
afel, who put the Capitol Theater on the air. 
every Sunday evening via radio, gets something 
more substantial from his fans. Listed are a 

[ CONTINUED ON PAGE 96 ] 



covery to the newspapers — and the next 
morning the story was out, and the Brulatours 
were receiving congratulations. 

•"■THOUSANDS of motion picture lovers will 
■*■ sympathize with Thomas Meighan in the 
loss of his father, who died recently at his home 
in Pittsburgh. He was seventy-four years old 
and left a family of seven children; five sons, 
Thomas, John, William, James and King, and 
two daughters, Mary and Margaret. Up until 
his recent illness Mr. Meighan spent a great 
deal of his time with his son, Thomas, and was 
a familiar figure around the studios. When- 
ever he came to New York he was always a 
guest at the Lambs Club. He was head of the 
Pittsburgh Facing Mills until ten years ago, 
when he retired from business. He was a 
charter member of the Knights of Columbus 
and a member of the Elks lodge in Pittsburgh. 

TUTARIE PREVOST is one of the stars era- 

-1 "■'•ployed in making "The Marriage Circle," 
Ernst Lubitsch's newest production. And her 

part calls for laughter, steady laughter — five 
hundred laughs an hour — almost. The other 
day her facial muscles became SO tired that 
she jusl Couldn't manage another laugh — for 
laughter can't be faked, by glycerine, as are 
tears. 

"Oh, Mr. Lubitsch," .she protested, "don't 
tell me that I have to laugh again! I'm just 
about through!" 

Lubitsch looked at her. and his serious face 
relaxed into 8 smile (although you couldn't 

94 




Alice Calhoun, if she ever decides to giw up the screen, can earn her firing in en 

architect's office. She's skilled in designing and in geometrical problems. It's 

an odd talent for a woman — especially such a pretty woman 



PhOTOPI tt Mu.v/im.- AOVERTUINC Si « i" ,N > 



95 



r^ 



I ■■K^C 





^andallisyatuMjair 



nPHE really smart woman prefers silk under. 
•*• things for wear on every occasion. Vanity 
Fair has made it possible to secure delightful, 
dainty garments specially designed for partic- 
ular uses. 

There is a Vanity Fair creation for every require- 
ment, from comfortable garments for everyday 
and sportswear, to delectable affairs for wear 
with your loveliest evening frocks. 

They /Hake Charming Christmas Gifts 

Vanity Fair Silk Underwear means economical 
silk underwear. You'll wear it month after 
month and it will still retain the beguiling beauty 
that delighted you when you first bought it. 

Vanity Fair Silk Undergarments are made in 
four weights of glove silk as well as in Vanity 
Fair's own new weave with its delightful shad- 
ow-stripes — "Vanitisilk ", and its length will 
not shrink away! All finely woven fabrics that 
will long outwear ordinary materials. 

You'll find Vanity Fair at smart shops, and we 
will be glad to tell you the name of the nearest 
dealer if you will send a card to the Vanity Fair 
Silk Mills t Reading, Pa. 







vuur 



SILK, UNDEFLU3EAR 

AND HOMrKV 



When you write to advertisers please mention PHOTOPLAY MAGAZINE. 



9 6 



Photoplay Magazine — Advertising Section 



EasutoPlag 

Easu to Pau 



Paul Whiteman's 
Orchestra 




True-Tone 

Saxophone 

The Buescher Saxophone is so perfected and simpli- 
fied that it is the easiest of all musical instruments 
to learn. It is the one instrument that everyone can 
play— and it wholly satisfies that craving everybody 
has to personally produce music 

With the aid of the first three lessons, which are 
6ent free (upon request) with each new Saxophone, 
the scale can be mastered in an hour; in a few weeks 
you can be playing popular music. Practice is a 
pleasure because you learn so quickly. You can take 
your place in a band within 90 days, if you so desire. 

For Bands and Orchestras, for church, lodge and school 
musical affairs, for social and home entertainment, the 
Saxophone is the most popular instrument and one of the 
most beautiful. A pood Saxophone player is always popu- 
lar socially and enjoys many opportunities to earn money. 
Saxophone players are always in demand for dance orches- 
tras. Every town should have a Saxophone quartette or 
orchestra. 

Try It in Your Own Home 

You may order any Buescher Saxophone, Cornet, Trumpet, 
Trombone or other Band or Orchestral Instrument and try 
it six days In your own home, without obligation. Ensy 
terms of payment may be arranged if preferred. Mention 
the instrument interested in and a complete catalog will 
be mailed free. 

Buescher-Grand Trumpet 

Especially easy to blow, with 
an improved bore and new pro- 
portions. With the mute in, it 
blows so softly and sweetly 
that practice never annoys. A 
splendid borne instrument. 

Free Saxophone Book 

Wo havo prepared a very interesting book on the history 
and development of the Saxophone. It tells which saxo- 
phono takes violin, cello and bass parts and many other 
things you would liko to know. Also illustrates first lesson. 
I'Ivitv music lover should have a copy. It is sent free on 
request. Just Bend your namo for a copy. 

BUESCHER BAND INSTRUMENT CO. 

Everything in Band and Orchestra Instrument* 

2216 Buescher Block. Elkhart, Ind". 



Buescher Itiunl Instrument Co. 

2216 Buescher Block, Elkhart. Ind. 

Gontlemon: 

I am interested In tho Instrument checked below: 
Saxophone. Cornet Trombone Trumpet... 

(Menl Ion im other Instrument Intereetedio) 



Name 

Street Address. 

Town State.. 





The reason for these ■pictures is Uiat there was received in Photoplay office, 
recently, an engraved card, stating that Mrs. Bertha Dove announced the mar- 
riage of her daughter, Miss Billie Dove, to Irvin Victor Willat, at Hollywood. 
Everyone knows who Billie Dove is. Mr. Willat is a well-known director 



Gossip — East and West 

| CONTINUED FROM PAGE 04 ] 



J 



few of the gifts that he has received since his 
radio concerts became popular. 

Fresh flowers. 
Fresh fruit. 
Fresh fish. 

2 pair pink sleeve garters. 
1 book of poetry (from the author). 
1 oil painting (from the artist). 
141 ballads (from the composers). 
7 original cartoons. 
1 aircdalc. 
1 police dog. 

238 postals from radio fans on vacations. 
17 postals from honeymoon couples at 
Niagara Falls. 

92 ditto from ditto at Washington, D. C. 
1 hand embroidered whiskbroom holder. 
1 quart bottle of 

TJ ARBARA-LA MARE did more than create 
^a difficult part in "The Eternal City" while 
in Rome. She discovered a genius — no less. 
Xo, not a screen star. A tenor. 

His name is Higgins — Daniel Higgins. Re- 
fore the war he sang in the Follies Bergen-, on 
the same bill with the lamented Gaby Deslys. 
Then along came the invasion of Belgium, and 
Dan heard the call to arms. He got along all 
right until an engagement at Mons — where 
he was wounded. After a slow convalescence 
he dropped into obscurity, and Mi>< La Marr 
heard him singing in a little Parisian cafe. 
She and her husband. Jack Dougherty, brought 
him back with them, to America. He is stay- 
ing with (hem at their Hollywood home, and 
Miss La Marr has introduced him to the world 
by giving a large musicale. Rumor has it that 
lie has been signed by a well known manager 
to make a vaudeville tour. 



HPHEY'RE having a lot of fun. up in Massa- 

•*- chusetts, making some of the episode- oi 
1>. \Y. Griffith's forth-coming spectacle, 
"America." The descendants of the minute 
men are getting out family heirlooms in the 
shape of muskets and drums and blue coats — 
and the narrow streets of many old towns are 



consequently camouflaged most remarkably. 

But one incident dared to hold up the 
making of the Griffith picture. The horse 
that Paul Revere rode was ordered from Xew 
York— -a specially grand horse, of a color that 
the historians had agreed upon. And the 
horse, which was brought to Xew England by 
boat, became seasick. 

So seasick, indeed, that he could not carry 
Paul upon his w.k. ride. 

"TXTHAT do you think of Hollywood?" 

*» someone asked Alan Crosland, directing 
"Three 'Weeks." 

"Terrible." he replied. "Ignorance and 
illiteracy among actors is appalling. For ex- 
ample, I know two famous stars who can 
hardly read or write." 

"Who are they?" the questioner asked ex- 
citedly. 

"Jack Coogan and Baby Peggy." 

TT probably was Dulcy who first asked." Ain't 
■••Nature wonderful?" but it has remained for 
the motion picture to prove that at times the 
face of even Nature may be changed to good 
advantage. For instance. King Yidor was 
down in Florida, making "Wild Oranges," from 
the Hergesheimer story, with Virginia Valli 
and Frank Mayo in the leading roles. An 
alleged funny man asked Yidor one day: 
"What makes oranges wild?" 

Without a smile. Yidor replied: 

"Making them up. I guess." 

"Making them up?" said the questioner. 
"What do you mean?" 

"Well." said Yidor. "you know yellow 
photographs white. When John Boyle, our 
camera man. developed his first shots of 
orange-, they looked like new baseballs. They 
showed up white and of course that wouldn't 
do. So we called in George Elder, the property 
man. He used up pounds of grease paint and 
rouge on those oranges, but lie finally struck 
a combination which was satisfactory. Prob- 
ably being smeared up with all that paint is 
what makes them wild." 



CONTINUED OX PAGE 130] 



Every advertisement in photoplay MAGAZINE is guaranteed. 



Photoplay Magazdu Advertising Section 



97 




A motion picture that is 

awaited with keen interest 



SIR Hall Caine, one of the 
world's most popular authors, 
has written a thrilling story which 
has just been produced at the 
Goldwyn Studios* 

"Name The Man!'' is the title. 

This picture, which for simple, 
powerful, sincere drama ranks as 
a great work of screen art, is di- 
rected by Victor Seastrom. 

Victor Seastrom is internation- 
ally known as one of the most able 
of all motion picture directors. 

Sir Hall Caine, and Victor 



Seastrom have combined to make 
a real entertainment for you. 

"Name The Man!" is a story 
that bares the soul of a girl who 
gave blindly on the altar of love. 
It mounts steadily in dramatic 
tension. 

The wise ones of studioland 
have whispered that a thrilling 
surprise awaits the public. To 
that public which seeks Life, ten- 
der yet unconquerable, here is 
the supreme offering of an under- 
standing heart. Goldwyn presents 




NAME THE MAN ! 

Adapted -from the novel TheTtlaster of Alan? 



VICTOR 

SEASTROM 

Director 




SIR HALL 
CAINE 

CONRAD MAE PATSY RUTH HOBART AILEEN CREIGHTON Author 

NAGEL BUSCH MILLER BOSWORTH PRINGLE HALE 



Screen adaptation by Paul Bern. Editorial Director JUNE MATHIS. 

A Goldwyn Picture. Distributed by Goldwyn-Cosmopolitan. 



When you write to advertisers please mention PHOTOPLAY MAGAZINE. 



9 8 



Photoplay Magazine — Advertising Section 




{Messrs. 

Verhagen & Co. 

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The Charm of a Hearth 

[ CONTINUED FROM PAGE 47 ) 




The decorative ■possibilities of the 
over-mantel are infinite. If your 
treatment is a portrait, then all that 
is needed is two candelabra, placed 
one at each end of the shelf 

and porcelain bric-a-brac, that could be 
crammed on to it. It was a typical example 
of architectural thoughtlessness and home- 
building stupidity that characterized our 
houses a few decades ago. Its metalled and 
lacquered convolutions must have been the 
glory of some iron puddler's art. 

But a few bolts loosened here and there, a 
few sturdy heaves at wall plugs, and the top 
came nicely off. Fortunately the walls were 
going to be repapered anyhow. A little white 
paint on the woodwork, a little dark paint on 
the remainder of the mantel, and we have the 
result shown in the sketch on the right. Not 
perfect, by any means, but far better than the 
first. And proof positive that expense is not 
the measure of merit. 

There is so wide a choice of mantels todav 



Before a colorful hanging should be 
placed a simple single figure, of wood, 
porcelain, or terra cotta, of a char- 
acter in keeping with the kind of 
hanging used 



that it would be foolish to say here which 
would be the best. Tempered, of course, by 
the architectural restrictions of the house, 
personal preference always dictates the choice. 
Mantels can be of wood, stone, brick, tile, 
or what not. Or they can be a combination 
of a number of these. It should be noted, 
however, that highly glazed tile — in any 
colour — or smooth pressed brick, make un- 
attractive mantels. Simplicity should be the 
keynote, for not only is a simple mantel more 
beautiful but it is more economical, — whether 
it be of stone, brick, wood, or tile. 

The writer's personal choice has always been 
the wood mantel. These can be had in the 
charming simplicity of early American mould- 
ings, or the dainty carvings of Adam, Sheraton, 

[ CONTINUED ON" PAGE IOO ] 




■J -a s 3 -"*- r*- ■•' •■ r r • = i 




A simple treatment of the paneled orer-mantel. In this instance an interesting 
note is given bu the ship's model placed on the shelf 



Every advertisement in vmiotoi'i.ay MAGAZINE i~ guaranteed. 



Photoplay M\<,\/im Advertising Section 



99 



■ 






judgment of theStorm 

A Pd I mer Production 




(.1 OKI.' 
Ii\l h XIIIHKM 



LLOYD 111 CHI S 

14* "Juhrt I rrrttr' 



RRl'CE CORDON 



'/)«!•#• Heath 




The Story that brought 

*l,000Cash and Royalties 

to an Obscure Housewife 



"Mary Heath' 



THE newest and most significant experiment 
in motion pictures comes before the theatre- 
goers of the country with the current release of 
the first Palmer Production "Judgment of the 
Storm." 

This picture is the advance guard of screen 
drama which is genuinely of the -people, by the 
people, and for the people. 

It was written by a housewife, 
the wife of a Pittsburgh factory 
foreman. It was based on an as- 
tounding dramatic episode in the 
lives of people of her acquaintance. 

Mrs. Ethel Styles Middleton, the 
author, had never written for the 
screen. But through its remarkable 
Creative Test, the educational de- 
partment of the Palmer Photoplay 
Corporation, which is now con- 
ducting a nation-wide search for 
new writing talent, discovered her. 

Authors Share in Profits 

This institution is proud of the 
result. It is proud to stand behind 
the production of "Judgment of the 
Storm" as embodying the ideals for which it 
strives. It is proud to stand behind the other 
forthcoming Palmer productions which likewise 
give to the screen the fresh imagination of new 
writers discovered through the same Creative 
Test that brought Mrs. Middleton national 
recognition. They are "Unguarded Gates," by 
a former salesman; "Lost," by a former 
mechanical engineer, and a third as yet un- 
named, by a country doctor. 

An advance of $1,000 cash on royalties has 
been paid each author and each will receive, 
besides, a percentage of the producer's profits 
for five years. 

"Judgment of the Storm" tells a richly warm 
and human drama, yet it is not one bit more 
dramatic than the personal story of its author. 
Copyright 19S3— Palmer Photoplay Corporation. 



SEE THE PICTURE — 

READ THE BOOK ! 
"Judgment of the Storm" 
was written directly for 
the screen. But its dra- 
matic appeal is so power- 
ful that the publishing 
house of Doubleday, Page 
& Co., has novelized the 
screen story. Under the 
same title as the picture 
the novel will be on sale 
wherever the picture is 
shown. 



Like hosts of theatre-goers, the Pittsburgh 
housewife for years had experienced increasing 
disappointment with motion pictures. Casts and 
settings were the best, but the stories told were 
often cheap, tawdry and insincere. Like thou- 
sands of others, she said to herself "I believe I 
could write a better story than that" 

She Clipped the Coupon 
Then one day her attention was 
drawn to a coupon — the same cou- 
pon that appears at the bottom of 
this page. It told of the need for 
new screen writers, and of the 
Creative Test evolved by this in- 
stitution. 

She clipped the coupon, mailed 
it, and today — as a direct result of 
that one, simple, little act — she is 
on the highroad to success as a 
screen writer. Instead of an ob- 
scure housewife known only to a 
little circle of acquaintances, she is 
today a famous writer whose name 
flashes nightly before the eyes of 
millions of theatregoers in thou- 
sands of theatres. 



Will This Test Discover 
You? 

No cost or obligation of any 

sort is involved in filling out the 
coupon. It will bring the Creative 
Test — with which a fascinating even- 
ing can be spent. If the result, as 
determined by this institution's edu- 
cational department shows absence of 
dramatic creativeness, you will be 
told so frankly and promptly. If, on 
the other hand, such qualities are 
indicated, the same co-operation ex- 
tended to the housewife, the sales- 
man, the mechanical engineer, the 
country doctor and many others who 
have succeeded in this new field will 
be made available to you. 




ARTHUR MILLETTE 

a^ "Kfcuaii" 



Palmer Photoplay Corporation Save time 1 by 

Productions Division, Sec. addressim? 

Palmer BIdg., Hollywood, Cal. nearest office 

332 S. Michigan Ave., Chicago 
527 Fijth Ave., New York 

Without cost or obligation please send me the 
Palmer Creative Test which will tell me whether 
I have the creative ability — for which there is such 
demand in the motion picture industry. 



Name 

Street 

j City. 

I 



State 

All correspondence strictly confidential 



I 



When you write to advertisers please mention riTOTOPLAY MAGAZINE. 



IOO 



Photoplay M ujazine — Advertising Section 



Every hair 

in a child's 

head 

cries out for 
proper care 



A CHILD'S hair must be 
properly shampooed for the 
sake of future hair health as well 
as for present loveliness. 



The Charm of a Hearth 

[ CONTINUED FBOM PAGE 98 ] 



Suppose you could get a sham- 
poo as pure as certified milk — 
as mild as soft water — as fra- 
grant as a wild flower, and even 
more cleansing than the usual 
harsh, ill-smelling soap? 

You can! Wildroot Cocoanut 
Oil Shampoo is soothing to the 
tendercst scalp. It makes an 
abundance of rich, creamy 
lather, which rinses out quickly 
and removes all the dust, dirt 
and dandruff — the chief cause of 
hair trouble. And it keeps the 
hair soft, fluffy and clean. 

It is surprisingly economical. 
For only 50 cents your druggist 
will give you a large six-ounce 
hot I le so that you may see for 
yourself how easy it is to keep 
your child's hair healthy, and 
sweet enough to kiss. 

WILDROOT COMPANY. In.-. 
Buffalo New York 

WILDROOT 

COCOANUT OIL 

SHAMPOO 





The obmovs thing to put over the 
mantel shelf is a mirror 



or Chippendale. Painted white or ivory, they 
lend themselves to almost any scheme of 
modern decoration. When worn, or soiled, 
they can always be repainted without neces- 
sitating the painting of the rest of the room. 
Brass, pewter, or porcelain ornaments lend 
themselves readily to mantel-shelf decoration 
on this type of mantel. Polished brass, or 
wrought iron fireplace furniture stands out 
in pleasing contrast. 

But this is a personal preference only. 
Make your mantel what you please, so long 
as you observe the architectural limitations of 
your room, and make simplicity the keynote. 

After we have our mantel, our next consider- 
ation is the fireplace and accessories. If the 
fireplace is for burning coal, then a basket in 
keeping with the mantel should be used. Or 
if it is for logs, then the andirons, or " firedogs," 
should be of a design in keeping with the whole. 
A fireplace set consisting of a poker, tongs, 
shovel, and hearth brush, a screen to keep 
sparks off the carpet, and perhaps a fender, 
complete the equipment. 

HpHE most serious decorative consideration we 
■!■ have is the treatment of the mantel shelf, 
and the over-mantel, as that part of the wall 
above the mantel is called. Our problem is 
twofold. The mantel shelf should be treated 
as one unit, the over-mantel as another. Yet 
the two should be in harmony. 

The most important, perhaps, is the over- 
mantel. And its decorative possibilities are 
infinite. If the furnishings of the room are 
too much of one hue. tlu-n variety of colour 
can be displayed in the over-mantel treatment. 
The decorative object can be a picture, a> 
in the right hand sketch at the head of the 
article, or the portrait, or the colorful hanging, 
both shown on page 08. The obvious thing 
to put over the mantel shelf is a mirror, as in 
the upper illustration on page 100. In certain 
types of rooms, especially those in early 
American style, the over-mantel can be simply 
panelled, as at bottom of page 08. 

Sometimes in these panels was put a colored 
map of the surrounding country, or perhaps 
such a map in plastic relief. There is no limit 
to the ways in which an over-mantel can be 
treated. The objects used in decoration should 
I ein scale to tliew hole mantel, and they should, 
if possible, lie in keeping with the general 
character of the rest of the room furnishings, 
not only in design, but in coloring. 

Next in importance is the mantel shelf deco- 
ration And this is the chief (wint of deco- 
rative peril. Restraint should be the keynote, 

Every advertisement in rnoTorLAV mao.vzixe is guarantee 



in the number and nature of the objects to be 
placed. Perhaps we can clear the way by a 
number of "dont's.'' Do not put small object- 
on a large mantel, nor large objects on a small 
mantel. Do not use framed photographs, or 
souvenirs of travel. Do not make the deco- 
rative arrangement stiff. Do not attach 
draperies to the mantel shelf. Do not make 
the mantel a repository for all the gimcracks. 
and gewgaws that you pick up. Restraint, 
we say again, should be the keynote. Nothing 
so vitiates an effect as overcrowding. The rule 
should be "select, and select again." 

A SAFE procedure would be to limit the shelf 
*V decoration to three ornaments, until the 
peculiarities of the room are discovered. 
These three ornaments must be sufficiently 
important in size, and beautiful in shape and 
colour. Before the shelf is decorated, the 
over-mantel treatment should be studied, and 
the whole planned to give balance and repose. 
Nothing so destroys repose as a cluttering of 
objects. If your treatment is a portrait, as 
on page 98, then all that is needed is two 
candelabra, placed one at each end of the 
shelf. Before a colorful hanging — on same 
page — there should be placed a simple single 
figure, of wood, porcelain, or terra cotta. of a 
character in keeping with the kind of hanging. 
Our "rule of three" is followed out in the 
upper sketch on page 100. The dainty French 
character of the fireplace and the mirror is 
reflected in the ornaments used on the shelf. 
In the lower sketch on page 98 we have the 
simple treatment of the panelled over-mantel. 
In this instance an interesting note is given by 
the ship's model placed on the shelf. On 
page 100 we have still another example of 
mantel treatment, in the lower sketch, in 
which there is no over-mantel decoration. 
Three balancing objects supply the shelf with 
proper accent, and the flowers from the vases 
extend up into the over-mantel, and supply 
the accent needed there. The subtle art of 
arranging flowers well is needed to make this 
type successful. 

These are some of the things that can he 
used in mantel decoration: Branched candle- 
sticks, porcelains, busts and statuettes, cande- 
labra, Chinese dogs, cockatoos, hangings — silk 
or tapestry — mirrors, panels, plaques, pottery, 
metal objects, glass. 

No other improvement means as much to 
the appearance of a room as a good mantel. 

If you are remodelling an old house, or 
building a new one. make your fireplace and 
mantel what they should be. Without a good, 
usable fireplace a room is as a love story 
without a hero. And remember, the character 
of the occupants is made evident by the 
decorative accessories that are a part of a 
mantel's decorative function. 



£ 






• 




Another example of mantel decora- 
tion, in which three balancing objects 
supply the shelf with proper accent. 
The subtle art of arranging flowers 
is needed to make this type successful. 



Photoplay Magazini Advertising Section 



iO I 



The Shadow Stage 

[ CONTDn i D ROM PAG1 71 I 

ON THE BANKS OF THE H WJ \SH 
Vitagraph 

A FINE stellar cast including Mar) Can 
(absurdly miscasl . Marj MacLaren and 
James Morrison and little Madge Evans, 
grown up t» be almost a woman, staging some 
thing of a comeback. Not much of a picture, 
unfortunately, with a weak plot and weaker 
direction. Ine sentimental passages somehow 
don't seem to register, and the pathos turn- out 
to be bathos, 

HELD TO ANSWER Metro 

Tl II' pastor of a mission 1 hurch is 1 onf rented 
with hi- pa^t, in the shape of a charming 
actress. Of course the pastor i- blameless 
and always did resemble Caesar's wife! Hut 
through tin- efforts of the lady, and in order to 
shield the honor of hi- sweetheart's brother, he 
get- into .1 peck of trouble and i- denounced bj 
hi- congregation. Everything end- well, and 
the organist plays the doxology. 

THE TEMPLE OF VENUS— Fox 

THIS picture contains a little of everything 
that producers consider sure box office at- 
traction. It ha- a Love story, strong da-he- of 
ultra-jasz, horde- of bathing girls and nymphs 
in advanced stages of undress, and some real!) 
beautiful scenic -hot-, all placed against a 
background of ancient mythology. Fine .-hot- 
of the surf, the hirds and the seal- at C.italina 
Island. Mary Philbin is the heroine. 

A MILLION TO BURN— Universal 
V\ 7 III I Herbert Rawlinson as the incendiary, 
W this is no Fourth of July celebration. But 
it's an easy and amusing way in whi< h to spend 
an hour — and if the time doe- not By as fast as 
the money, it's not the fault of a hard-working 
cast Huilt around the idea of a young hotel 
manager who tries to make hi- hostelry into a 
modern Utopia. And. of course, fails. 

IN SEARCH OF A THRILL— Metro 
\TU)\.\ DANA, as a society girl with too 

V much money and too little real purpose in 
life, decides to impersonate an Apache (we 
forgot to mention that the scene was laid in 
Pario. And. while doing her impersonation 
-lie -ees something of living conditions in the 
slums — something of the seamy side of things. 
Naturally her masquerade results in a love 
affair and a changed point of view. 

THE LONE RANGER— Ayuon 

npiIIS title doesn't lead you to expect much. 
*■ The result is you're not disappointed. Once 
again we have the Texas Ranger sent to get his 
man. J. B. Warner does it in the usual way 
with the blonde heroine as his reward. The 
picture has one great advantage — it enables 
you to see all the "westerns" for a -ingle price 
of admission. There are, however, more agree- 
able ways of spending an evening. 

BLOW YOUR OWN HORN—F. B. O. 

A CCORDING to this machine-made ,-tory 
■* M>v Owen Davis, if you blow your own horn 
hard enough, and long enough, you'll blow 
yourself right into a million dollars and a 
"happy ending." A discouraged war veteran 
puts the slogan to use, perfects a radio inven- 
tion, and rescues the imperiled girl of his 
dreams from an electric-charged room. Tin 
best that may be said of the piece, however. 
i- that it's just a picture. 

BIG DAN —Tox 

•■THE hero is kind to little children. re>cue ? 
■*- innocent girls from the clutches of villainous 
scoundrels, never smokes, never drinks, and i- 
good to his mother. In fact Dan is a little too 
good to be true. Like so many virtuous hus- 
bands, he has a faithless wife. But she dies at 
the right moment so that he may start life 
anew. Frederick and Fanny Hatton have 
furnished this sterotyped story which is hardly 
food for grown-up intellects. 




A feature 
you'll like 

Handles are madc 
in six different 
colors — a personal 
Owens for every 
member of your 
family. 



bad habit 

that should he stopped 

YOU'VE often seen people thumb 
the bristles in a tooth brush. This 
is a dangerous habit. For careless fingers 
frequently carry dirt — even infection. 

The Owens Stapletied Tooth Brush 
is protected from this unsanitary han- 
dling. Each one is sold in a clean, 
transparent glass container. Exposed 
to the eye — but not to the hands. 

You'll prefer this clean tooth brush 
for other reasons, too. Prominent 
dental authorities have pronounced it 
the best all-purpose tooth brush ever 
designed. The cut of the trim, curve 
of the handle, and spacing of bristle 
tufts combine to make it ideal for thor- 
oughly cleaning every part of the teeth. 

Sold in the sanitary glass container, 
it costs you no more than ordinary tooth 
brushes — 30, 40 and 50 cents each, in 
child's, youth's and adult's sizes. 




Staple-tied 

Bristles are tied 
securely into the 
handle by hidden 
staples. They 
won't come out in 
the mouth. 



OWENS 

Stapletied TOOTH BRUSH 

THE OWENS BOTTLE COMPANY, TOLEDO 



When jou write to adveitisers 'lease mention PHOTOPLAY M \c. \7.I\i:. 



102 



Photoplay Magazine — Advertising Section 



1DRAWING 

IS A WAY TO 

FORTUNE 




ALI HA FED, a Persian farmer, sold his 
-**- acres to go out and seek his fortune, 
lie who bought the faim found it contain! d 
a diamond mine which made him fabulously 
rich. Ali Hafed overlooked the great oppor- 
tunity at his door to go far afield in search 
of wealth — which illustrates a great truth. 

Do You Like to Draw? 

If you do, it is almost certain that you 
have talent, a talent which few possess. 
Then don't follow Ali Hafed's example and 
look farther for fortune. Develop your 
talent — your fortune lies in your hand! 

Earn $200 to $500 a Month and More 

Present splendid opportunities in the 
field of illustrating never excelled. Pub- 
lishers buy millions of dollars' worth of 
illustrations every year. Illustrating is the 
highest type of art and it is fascinating as 
well as profitable. 

The Federal Course includes illustrating, cartoon- 
ing, lettering, poster designing, window card illus- 
trating, etc. No one artist is competent to give 
instruction in all these branches. That's why the 
Federal School has established its "Master Course," 
in- which every subject is written by a specialist. No 
other school can offer a course nearly comparable. 
No other institution in the country has such an 
array of artists as are on the Federal Staff. 

Federal Course Gets Results 

Its authors include such nationally known artists 
as Sid Smith, Neysa McMein, Fontaine Fox, Charles 
Livingston Bull, Clare Briggs, Norman Iiockwell and 
over fifty others. Exclusive lessons and drawings 
especially prepared by them are included in the 
Federal Home Study Course 
They guide you from simple 
sketches to complex illustra- 
tions having a high market 
value. 

Mail in the coupon below 
today and we will send you 
our free illustrated booklet, 
"A Road to Bigger Things." 




Federal School of Illustrating, 

177 Federal School Bldg.. Minneapolis, Minn. 

Name Age 

Address 



For a good 

Christmas Suggestion 

sec page 108 




AreYouWellGowned? 

Any L*lrl or woman, 15 or over, COO easily 
learn gown designing .mil making 

hi 10 WEEKS. USlDK s|i:in- mo- 
ments. Deslitnera cum 



$40 to $100 a Week 
MaG Coupon jl^" 1 

Today ^* c Oapl. E631. Rschnlsr. 





ul.. 

N.T. 
note 



A'tOMr. 
Attdrtrn. . . . 



OUR HOSPITALITY— Metro 

BUSTER K EATON' evidently thinks he is 
a good enough comedian to do without a 
story and situations. Mr. Kea ton is right. He 
is too good a comedian to do without them. 
This was apparently intended to be a travesty 
on the old feud "stuff," but one is never quite 
sure whether it was meant to be comedy or 
tragedy. You'll get a chance to see Buster Jr., 
and a thrill at the sight of his illustrious Dad 
dangling on the end of a log over a waterfall — 
but that's about all. 

THE LOVE PIRATE— Film Booking 
Offices 

r^ARMEL MYERS and Kathryn McGuire 
^*make this production show a gleam of 
beauty. But the plot is commonplace and the 
rest of the cast seems rather ordinary. The 
theme has to do with the owner of a disreput- 
able cafe who sells liquor and does other un- 
lawful things; with his wife, her cousin, the 
district attorney, and with two cabaret girls. 

THE LEAVENWORTH CASE— 
Vitagraph 

HTHIS is a poor adaptation of the famous 
*■ mystery novel by Anna Katherine Green. 
There is in the picture very little of the sus- 
pense that made the book a best seller. The 
solving of the mystery was what made the 
novel, and this the picture practically ignores. 
Seena Owen and Martha Mansfield are the 
best of the cast. 

CROOKED ALLEY— Universal 

THIS Boston Blackic story is not well done. 
The people in it do not live — with the excep- 
tion of Laura La Plante, who is always sweet 
and pleasing. All about a convict's daughter 
who revenges herself upon a hard-hearted judge 
through his only son. The plot turns into a 
boomerang, with the boy and girl falling 
desperately in love. 

THE WAY MEN LOVE— Grand- Ashur 
Prod. 

THIS isn't at all what you might suppose 
from the tricky box-office title. True, there 
is a villain who tries persistently to ruin the 
heroine (played by Mildred Harris), but the 
hero is a man of religion who goes in for faith 
healing, and turning the other cheek, and wear- 
ing a beard. This picture gets off to a good 
start, but the story grows weaker, reel by reel. 

MODERN MATRIMONY— Select 

"p\EPENDING upon homely domestic senti- 
-*— 'ment, and a simple and rather conven- 
tional love story, this offering is dedicated to 
the young man about to take the fatal plunge 
under the delusion that two can live as cheaply 
as one. One of those farces in which a word of 
explanation would end the suspense and also 
the action. At times a tritle tedious, but in the 
main pleasant entertainment. 

YOU ARE IN DANGER— 
Commonwealth 

THIS is probably a convincing argument for 
or against something, but it fails to leave 
you quite clear as to the nature of that some- 



thing. A good little country boy goes to the 
city in -eareh of a career. He gets in with a 
Rang of crooks, and kindles the first spark of 
real love in the heart of an adventuress who 
trie- to win him from his small town sweet- 
heart. But she never had a chance. Should 
be listed in "the fewer, the better" class. 

FOOLISH PARENTS— Associated 
Exhibitors 

•"THOSE who find life interesting will be inter- 
•*- ested in this picturization of it. Foolish 
parents happen in the best regulated families, 
but now and then they get on to their weak- 
nesses before it's too late, and save the pieces 
of the old matrimonial shipwreck. Whatever 
their faults, however, after viewing this 
domestic difference you'll be convinced that 
marriage is a great institution and that no 
family should be without it. 

THE BAREFOOT BOY— 
Commonwealth 

"Y"OL"LL swallow your Adam's apple again 
*■ and again at this picture based on Whit- 
tier's poem. It is so simple, so lifelike that you 
forget the movies, and feel yourself an actual 
observer in a small town where a forlorn and 
kindly little country boy is made the butt of 
everyone's wrongdoing. It has the virtue — 
uncommon in the cinema — of making .you 
believe it. and while the first half is better than 
the second, it is all worth seeing. 

THE FORBIDDEN LOVER— Selznick 

HPHE time, the days of the early Spanish 
-*- settlers. The place is California. The girl, 
a senorita about to be married, against her will, 
to a six-cylinder bandit, when her "forbidden 
lover,'' an Americano, steps upon the screen. 
After the fireworks the senorita decides to pick 
her own husband, as girls will. The only other 
excitement is over a string of pearls and a 
murdered padre, but none of it is likely to keep 
you awake nights. 

THE MONKEY'S PAW— Selznick 

■"THE evident aim of this film is so high, its 
*■ literary merit so good, the producer should 
be praised for his endeavor. It has faults, as 
what picture has not. but. at least, it is an in- 
telligent work, an elTort to stimulate thought, 
and something of a relief after quantities of 
cinematic ice cream and lady fingers. The in- 
terest in the story by W. W. Jacobs centers 
about a talisman from which the piece gets its 
title. 

MEN IN THE RAW— Universal 

THIS was produced by a familiar formula. 
The recipe is as follows: Take one photo- 
play. Extract much of the photo. Then 
remove all of the play. Fill the resultant 
vacuum with a little prairie wildllower. a 
villain, a wrongly accused hero, a band of 
cattle rustlers and a half-dozen aces from the 
open -paces. Jack Hoxie is not much of an 
actor. When he rides, however, everything is 
forgiven. And usually he rides. 



Why Are 
Certain Women Attractive to Men? 

How are we to account tor the tact a plain face often 
proves more fascinating than beauty at a social gather- 
ing ? This subject is discussed and analyzed by 
Herbert Howe — authority on screen personalities — 

February Issue of PHOTOPLAY Out January 1 5th 



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Photoplay Magazine Ahmhiimm. Si < ri(>N 



103 



What Chance Has a Man 
in Pictures? 

[ CONTUtl 1 i> FROM PAG1 

thing was too pathetii for words Bui it's just 
one of the stones lloll> wood has to tell 

\ few morninj had found 

(te under the rlooi 

It was from the milkman, requesting a 
photograph. 

When I gave it to him he told me he had 
been in pictures. A fine looking fellow . and in 
telligent. He had played some small parts, but 
the sledding was hard so he had to take what- 
ever work he could find to keep going 

"You see they don't go back home," said 
Ma< "I never would have gone back, either 
become chauffeurs, salesmen, waiters 
[t's 1 hard game." 

Of course, there arc any number of hopeless 
screen-struck ones, l>ut there are al-o any 
Dumber who have* tackled the business in a 
thoroughly business-like manner, believing it 
offers greater opportunities than any other 
profession' *To this last order JIcGcegor 
belongs, 

He bad a chance to follow in the footsteps 01 
hi- father, a wealthy clothing manufacturer. 
Ilu- work did not appeal to him. He didn't 
feel he fitted. 

So the adventuring spirit that once took him 
on a wild cruise to China brought him to the' 
gates 01' Hollywood. {Catherine MacDonald, 

whom he had met in the East before -he en 
tered pictures, gave him letter-- to several 
casting directors, and did all she could lor him 

" But no one can help you in this business." 
says Mae "• 1 know, because I've tried to help 
other fellows and found that I usually did them 
more harm than good. 

"Directors naturally look with suspicion upo 1 
anyone who is introduced a- a friend or 
relative." 

With a letter from Mi" MacDonald, -Mac 
called on the Lasky casting director — and gol a 
job as e\tra. He worked for two days, then 
was idle tvvo weeks. 

He went from studio to Studio for a year, 
playing extra. Did any director note hi- good 
look- and his magnetic personality, 'and pk k 
him out from a mob? They did not!" says 
Mac emphatically. 

If Griffith had seen him be might have been 
picked, but Griffith was working in the East. 
Rex Ingram did see him. alter Mac had been 
knocking about for a year and a half as an 
extra, and he engaged him for the lir-t avail- 
able role— that of Frit/, in "The Prisoner of 
Zenda." 

Ingram believes him to be the best I et 
among the young American leading men. 

Only great director- dare to make di>- 
coveries. and there are only one Ingram and 
one Griffith in the business 

The caste system in the Hollywood studios i- 
rigid. The extra doe> not talk with :-tar- and 
directors. 

"Only one star ever spoke to me while I was 
playing extra." remarked Mac. "and I -poke to 
her first That was Leatrice Joy. I took the 
courage to compliment her upon a very diffi- 
cult scene in which she had worked nearly all 
one terrible hot day, and she was very charm- 
ing. 

' Hut stars do not have time to talk with 
extras and to hear their trouble-; they couldn't 
help if they did." 

Even when the beginner has achieved a rung 
above that of extra his trouble- are far from 
over. In fact, they only have a good -tart 
While >till playing extra McGregor was sum- 
moned for a small part in a Katherine Mac- 
Donald picture. But the director said he 
wouldn't do. 

" You look too much like a leading man." he 
said. "The fans might prefer you to the hero. 
You are only good for lead-." 

Kither you're too good or not good enough; 
there's always a reason against you. 




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Photoplay Magazine — Advertising Section 




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Fortunately Rex Ingram considered 
McGregor ju~t right for the role of Frit/, in 
"Zend;:.'' 

" I didn't know whether or not he could act," 
says Rex, "but I did know he could wear a 
uniform better than anyone in pictures, with 
the exception of Eric Yon Strohc-im." 

Rex is not given to complimenting his 
players. But his wife, Alice Terry, is not 
averse to spreading glad tidings. She came 
dashing over to the McGregors one evening, as 



excitedly a? Paul Revere. "They're going to 
-ign you!" the shouted. "Rex says you're 
great.'' 

Since then Mac has played leading roles in a 
number of pictures, but his big opportunity has 
not yet arrived. It rests with the gods, who in 
Hollywood are termed directors. 

" A beginner,'' says Mac, "has one chance in 
ten thousand." 

Mac is no longer a beginner for the simple 
reason that he is one in ten thousand. 



Alice and Miss Terry 

[ CONTINUED FROM PAGE 41 ] 



"Hurt my feelings? Yes! Once, but that 
was before I got on to the dissociation of per- 
sonalities, which is something like separating 
an egg— " 

"You can put the director back in the ice- 
box while you beat the husband. Miss Terry 
don't pursue this metaphor too far. Get back 
to your own hurt feelings." 

"Well, they were hurt a few days after we 
were married." 

"They always are. After you've been mar- 
ried a while you lose your feelings." 

"Well, if you don't, you lose your husband. 
The system is to lose the feelings without 
letting the husband suspect you've done it. 
Then he goes on being considerate of them 
anyway. The combination of a considerate 
husband and a- sensible wife is perfect." 

"Miss Terry, there is something in your 
manner which leads me to suspect that you 
have arrived, not jumped, at this conclusion." 

"I certainly have. When your husband is 
your boss, he can't be indulgent, because it 
isn't fair to the others with whom you work. 
He can't be unnecessarily severe, because, 
director or not, he is still your husband and 
public severity is in bad taste and would hurt 
any wife. Rex calls me 'Miss Terry' when 
he gives me directions and instructions, and 
I obey them without question because I've 
learned from experience that he knows more 
than I do. At first, when I hadn't quite con- 
firmed my suspicion that he did. I disol eyed 
him once or twice and deliberately used my 
own judgment as to how a thing should be 
done or an effect made. After I'd seen the 
pictures, I never did it again. 

"HPHE position of working for your husband 
■*■ is really more difficult than advantageous. 
You know, yourself, that to shut the husband 
entirely out of the studio is psychologically 
and emotionally impossible. Any other di- 
rector might tell you that you were stupid, or 
cold, or ineffectual (in the usual studio equiva- 
lent for those terms, understand) and you 
could take it gracefully and do your test 
to get his idea and give him what he wanted 
as an entirely impersonal part of the day's job. 
Rut the boss who is the husband as well, for 
the sake of your sensibilities and his own, even 
for the sake of the detached human sensi- 
bilities of the people around you. has to strain 
to keep the middle course between patience 
and impatience. To overdo the tolerance 
the slightest shade would be just as demoral- 
izing to the other players. I really don't 
approve of wives working for husbands." 

"Yet you are doing it and doing it suc- 
cessfully." 

"That's why I'm in a position to know how 
hard it is and to say it generally shouldn't be 
done. There isn't a director whose ability 
and achievements I respect and admire as I 
Ao my husband's. And there isn't a director 
for whom, as an actress. I'd rather work. Rut 
our marriage isn't a help to our professional 
association. That isn't just morbid discon- 
tent, either. The drawbacks are definite and 



I have a memory' of one or two early dis- 
turbances." 

"The honeymoon tragedy?" 

"Yes, that was one. We were doing 'The 
Prisoner of Zenda.' I had been married only 
a few days. My first day back at the studio, 
there was my new husband directing a scene 
with Lewis Stone and ordering him to ki-s me, 
not once, but over and over, until the effect 
was just right. Everybody was amused and 
took no trouble to hide it. That added to my 
embarrassment and distress. Of course, my 
nervousness didn't help the scene a bit. But 
it did seem too dreadful to have a husband of 
only two days, who professed to love his wife, 
shouting instructions how to kiss her to another 
man. I considered it unnecessary indelicacy."' 

"But. what of Mr. Stone. Did he need the 
instruction?" 

"The director seemed to think so. Any- 
way, he hated it just as much as I did." 

"He was no gentleman." 

"Well, what he said was: 'I'll never make 
love to another bride befoie her husband." " 

"I beg Mr. Stone's pardon. I've done him 
an injustice." 

"Please don't do me one by thinking I was 
unnaturally sensitive. I never felt so silly 
in my life." 

"Miss Terry, your little confession will 
shatter the pet illusion of lots of people who 
think that Hollywood wives don't wait two 
days to be kissed by other men." 

"I think we'd better stop the interview 
before we begin to gossip. How does one 
conclude an interview?" 

"One says something about one's work 
being all in all to one. Any little bromide w ill 
do nicely." 

"Truly. I'm not a bit mad about the 
movie;." Alice Terry became suddenly seri- 
ous. "How can I tell whether I'm any good 
or not? Don't say any obviously nice thing, 
please. One person likes me. Another per- 
son doesn't. We do what ouf directors tell 
us, as best we can. and what have we to show 
for it? Ten seconds of fair acting, probably, 
but even that isn't entirely our own. The 
character i< created by the author, the action 
and condition by the director, the picture by 
the photographers, the scenic artists, the cos- 
tuniers. Even the words the picture speaks 
are the title writers. 

"There is so much luck in the game, im- 
possible people manage to get way up front 
while really line ones never get their chance. 
Sometimes I really regret the cutting-room 
where I worked and could know that if I did 
Mich and such a quantity of work I was good, 
and bad if I did less. I worked in the l.asky 
cutting-room once, you know, when the acting 
wasn't breaking just right for me as a beginner. 

" 'The Four Horsemen' was my first big 
part. Only a director can feel that a picture 
is really his. ami that he has accomplished 
something. I haven't a single qualification 
to be one. My boss is my husband and my 
husband my boss. It takes all my talent to 
play the successful actress and successful wife." 



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Names of Cut Puzzle Prize Winners appear on page 33 



run 1 ot'i \ v \i m 



Photoplay Mv;,\/i\i Advertising Section 



Mary PicktonJs Favorite 
Stars and Films 

[ COMIM l i> I ROM PACE -"i) ] 

Mary Classifies Directors 

The com creation turned t>> I >. W. Griffith'!) 
latest production, "The White Rom" 1 
ventured the opinion that Mr Griffith, in hi* 
recent works, ha- shown >ij;n- of weariness, a 
need for recreation. 

'Hi- needs to i;ct away from the little circle 
of people « ho ha\ e surrounded him for j ears," 
said Mary. "He needs fresh viewpoints . . . 
We .ill do. He ought to come back here and 
listen to a Friend. 

•• Home life means so much, and Mr (iritlitli 
hasn't as happy an environment as he should 
have. That studio of his at Mamaroneck is yo 
gloomy, and be virtually lives in it If he 
would only come out here .mil play with 
Douglas and Charlie. Of course, he considers 
them children, but it would do him good to 
play with children." 

of Ivor Xovi-llo. the latest Griffith find, 
Mary said: "Negative," adding, "l>ut he's 
very handsome and he may have possibilities. 
ur director might give him more punch. 
Mr. Graffiti) i- a woman s director. He never 
has made a male >tar." 

Richard Barthelmess, she agreed, was 
already close to stardom before he came under 
(.ritiitii supervision. 

"There are directors for nun and directors 
for women; few are equally effective with 1 oth 
men and women." observed Marv. 

"Mr. Lubitsch is a splendid director for a 
woman after she has gamed a certain amount 
of self-reliance and maturity of talent, hut he 
i- primarily a man's director, 1 think." 

"Mickey N'eilan i> a woman* director. 
Mickey's greatest failing is his inability to 
sustain interest throughout a Ion-; production. 
Hi> finest picture- have been the short stories 
in 'Hits of Life." I'm having him start in the 
middle of 'Dorothy Vernon of I (addon Hall, 1 
so that, if he does lose interest, the nio-t 
important part of the picture will not suffer. 

"Rev: Ingram — I can'tsay — he seems to have 
been successful with Loth men and women, 
although his male 'finds' have been more 
striking. 

"Cecil De Mille i- — well, I guess it isn't 
necessary to classify him," Mary flashed a 
smile. 

"Charlie Chaplin i- a woman's director. lie 
knows women — oh. how he knows women!" 

"He knows men, too," interjected Doug. 
vehemently. 

"But he knows women better," insisted 
Mary. " I wouldn't care to be one of the girls 
to whom he has been attentive and be analyzed 
on the screen! He sees through them all." 

Both Mary and Doug think Chaplin the 
greatest director of the screen, "A Woman of 
Pari-" a mile-tone of advance in picture story 
telling. 

" I Ic's a pioneer. There will never be another 
Chaplin." declared Mary. 

"There will never be another Mary." de- 
clared Doug. 

" I only wish I could have him direct me fon 
the sake of future record," was Marv'sobserva- 
tion. "Several years ago. when I was finishing 
a contract. Charlie sent his brother Syd to see 
me in New Vork with an offer of ten thousand 
a week to work four weeks with him. I was 
quite insulted! We considered him just a 
comedian. We didn't realize his genius. 

The Future of Pictures 

"The important thing in picture- i- not the 
story but the treatment. Setting, acting, story 
may all be splendid, but it's the treatment that 
lifts a picture out of mediocrity. 

"The ideal combination for producing a 
superior picture would be a fine director and a 
fine scenario writer working together. Un- 



' °5 




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Photoplay Magazine — Advertising Section 




The ^Verdict of Waris M 

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fortunately there is so much jealousy in the 
business that this is difficult. 

"Thank goodness. I'm not jealous. I'm not 
vain about achieving personal glory by an in- 
dividual performance. My interest is in 
creating entertainment, and to that end I am 
willing to subordinate myself. 

"To whom can we look for advance, for 
fresh vigor?" she asked suddenly. "There are 
not many, are there? I think Lubitsch offers 
the greatest promise. I have tremendous con- 
fidence in him. 

"I brought him over here because I par- 
ticularly wanted a new angle on myself. He 
had never seen any of my pictures and I didn't 
want him to see any. I placed myself com- 
pletely in his hands, and I feel I gained a great 
deal." 

She paused reflectively, and smiled. 

"Temperamental? Of course I'm tem- 
peramental. Any of those big business men, 
had they been dictating to me, would have con- 
sidered it a whim of temperament to insist 
upon importing a foreign director when there 
are so many good ones available here. They 
could not have understood my wish for a new 
angle upon myself. It was not a personal 
motive. It was sound business. We must be 
continually renewed or the public grows tired 
of us. No one can afford monotony. 

"It would be difficult to find a director in 
this country who has not seen my pictures. 
That is why, primarily, I wanted Mr. Lubitsch. 
Besides, he has new ideas and tremendous 
dramatic force. I have signed him to direct 
me in three more pictures, one a year for three 
years." 

Mary believes that there will be some re- 
action from spectacular magnificence toward 
simplicity, with Chaplin's "A Woman of 
Paris" as the model. 

"But simplicity requires artists, and we 
haven't many artists. 

"Of course, we must have variety. We want 
spectacular pictures and we want intimate, 
simple things. As I say, it all depends on 
treatment. The story of 'A Woman of Paris' 
is nothing; it's the treatment." 

The Star's Responsibility 

Stars must assume responsibility for the 
quality of their pictures as well as for their 
individual performances if they arc to survive. 
That is the Pickford dictum. 

"If a picture bearing a star's name is poor, 
the star suffers. Look at the way Pola Negri 
was blamed for 'Bella Donna,' and the fault 
was not hers. 

"I would like to concentrate on acting alone, 
but I realize I can't. I must be responsible for 
the entire production. So many things can 
ruin fine work. You must even supervise the 
printing and developing. 

"And so responsibilities are continually 
added. Just now we arc finding it necessary to 
build or buy theaters in the key cities of the 
country in order to get a fair showing. To 
compete with the combine we must do this. 

"The only way to insure fair play. I believe. 
is by a union of independent arli>ts as against 
the combine of business forces.'' 

Mary as an Exhibitor 

"Harold Lloyd goes around to all sorts of 
theaters to observe people's reactions to 
pictures," continued Mary, "We all should do 
il more, but it is difficult lor me to find the 
time. Douglas and 1 have a barometer in our 
servants. There arc eight or nine of them, 
whom we always invite to sit with us when we 
show pictures on our screen at home. We have 
these showings at least three times a week." 

The other night Mary and Doug put on a 
Universal picture and none of the servants 
came! 

"And it wasa very good picture," said Mary. 
deploring the servants' absence. "They were 
all on hand for Charlie's picture and were 
deeply moved." 



Another day of reckoning which Mary fore- 
■■ ■ i- to be brought about by the exhibitor; 
through their mode of presenting picture-. 

"I personally re-ent being forced to sit 
through long vaudeville entertainments when 
I've paid to see a picture. And I am such a 
thorough, ordinary fan that I feel I express the 
general fan viewpoint," observed Man-. 

"Many exhibitors present very effective 
little settings for their pictures, but a great 
many seem inspired by personal vanity to sub- 
ordinate the pictures to their own entertain- 
ment schemes. 

"If I were an exhibitor I would have only a 
song at the opening. No long overture, but 
fine musical accompaniment during the 
picture. As it is, some of the orchestras walk 
out in the middle of the film and leave you to 
the mercy of an old organ. 

"This happened in a theater once when I 
was viewing 'Madame Butterfly.' The 
orchestra delivered a lengthy prelude, which 
apparently so exhausted them that they could 
not continue through the picture. A girl sat 
down at the organ and, in the most serious 
moment of 'Butterfly,' the organ pealed 
violently forth with T Didn't Raise My Boy 
to Be a Soldier.' 

"But the day of reckoning is coming when 
the exhibitors will learn whether or not the 
public wants the picture subordinated to 
vaudeville acts and musical numbers. The 
real artists among exhibitors already know, 
and those who augment the pictorial entertain- 
ment with beautiful, effective musical accom- 
paniment contribute to the permanency of the 
motion picture as a form of entertainment. 
Sincerity and simplicity of the presentation of 
pictures are as essential as in the production of 
them." 

Her Personal Plans 

Man - does not intend to make any radical 
departure from the type of entertainment she 
has sponsored in the past. "Rosita" is just a 
variation. The curls will again wave. In fact, 
Man - has been negotiating with Man- Roberts 
Rinehart for a story in which she would play a 
fourteen-year-old girl- 

"I will continue to have comedy shades to 
my pictures. I think the screen needs comedy." 

Neilan, who directed her memorable "Stella 
Maris," will direct her "Dorothv Vernon of 
Haddon Hall." 

She does not plan to do "Romeo and Juliet." 
as generally reported, although she considered 
it as a possibility. Indeed, she considered it 
quite seriously. And it so happened that the 
Los Angeles papers printed the fact that Mary 
contemplated the production on the same day 
that they printed an announcement of Norma 
Talmadgc's intention of nhning the classic. 

"I am too much of a Norma fan to want to 
enter into rivalry with her." explained Mary. 
"I don't think such competition would be good 
business. It would afford an opportunity for 
odious comparisons. Those who prefer her 
might resent me. and those who like me might 
be unkind to her. I called on Mr. Schenck 
after the announcement and we discussed the 
matter. He very nicely said that they would 
withdraw if I wished to make the picture, but 
1 told him I certainly did not expect that. 

" There would be many difficulties to meet in 
filming ■ Romeo and Juliet.' It would be hard 
to find a Romeo, ami Romeo is more important 
to the screen version than to the stage. Then, 
loo. 1 think the beauty of Shakespeare lies in 
the lines rather than in the pictures he pre- 
sents. When you think of Dumas' stories or of 
the Arabian Nights you see gorgeous, dramatic 
pictures, but when you think of Shakespeare 
you hear great melodies." 

Mary admits that there have been time- 
when, tired and confronted with disappoint- 
ments, she has thought of retiring. 

"but you see." she says, with a plaintive 
gesture. "I've worked all my life, from a little 
child. Work has become life to me. I can 
think of nothing to till the void. Douglas talks 
of travel and study. I could enjoy a few 



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moot us of travel ever) year, but 1 <.m have 
that ami >till make i>u tun- A- for stud) . I'm 
taking French; m> tea< her comes to the studio 
or i>> mj home everj day. So . . . t shall 
remain on the s< reen as long as they wanl me, 
as a producer a- long a- they permit me." 

1 hope 1 have shown you why Mary Pi» kford 
i> queen ol the films and w hy she will alwaj sbe 
the queen, rhere are other women in pi< tures 
quite as charming ami more fas< inating, but a 
queen cannot rule by charm alone. Mary's 
superiority lie-- in applied mentality. \ 
mistress of screen entertainment, apart from 
her talent as an actress, -Ik- >it- on tin- throne. 

lor all her self-assurance, ahe really 
lacks confidence in her ow n ,h>« ere. She is t he 
first to suspect that she's slipping. Indeed, 
Mary is something of a calamity howler where 
she, herself, i- concerned. But 1 pity the 
valiant Wall Street for...- if they ever trj to 
dethrone her from her independence! 

I do not think it matters what Man Pick- 
ford ever does on the screen; she has in twenty 
years become that which ordinarily requires 
two hundred — a tradition. Greater actresses 
may arise about her, but Mary will know no 
rival, for she has become a symbol of love to 
the lonelv soul of the world. 



Motion Picture Statistics 
for 1923 

[ro.Vri.MLl) FBOM PACE J7 1 

rich and the sultan of a harem, only to Le 
awakened, in the last shot, by having a police- 
man crack him violently over the head with a 
long hilly. 

476 hens laid an egg which rolled down and 
burst on someone's head. 

981 comedians fell head first into a barrel of 
flour, and, coming forth white, were mistaken 
for ghosts. 

[,224 comedians hid in trunks which were 
immediately hurled down a flight of stairs by 
husky draymen. 

Statistics Relating to Dramas 

In the j.700 serious screen dramas produced in 
1 Q2 ;: 

5.633 innocent ingenues made grimaces and 
pretended to choke when taking their first sip 
of spirituous liquor. 

7.020 lumps of sugar were fed to strange 
horses by simple country maidens. 

5.1 18 beautiful and haughty daughter- of 
wealthy and socially prominent families mar- 
ried poor young men in their fathers' employ 

2.710 hardened burglar-, second-story men 
and safe tracker- were instantly reformed and 
reduced to pious tears by infants in woolen 
nightgowns mi-taking them for Santa Clans. 

1.866 stem- of wine glasses snapped between 
the fingers of middle-aged gentlemen under the 
stress of a sudden sentimental emotion. 

6,022 Venetian chair-, 3.827 decorative fish- 
nets, and 4.Q26 small statues of the Venus de 
Milo were used in furnishing the studio-sets of 
wealthy artists. 

14 720 full-grown tortoi.-es were sacrificed to 
supply rim- for glasses worn by home-loving 
actors and actresses while reading the poems of 
Robert \V. Service. 

Of 5.126 wicked bachelors with white spats 
and waxed moustaches, 5.102 had Jap valets, 
the other twenty-four having valets made up to 
look like Japs. 

2,790 young women of God's great-out-of 
doors tore strips from their petticoats to bind 
the wounds of noble young cow-punchers 
injured in defence of their virtue. 

T.240 boats went down near an uninhabited 
South Sea island, the only survivors in each 
case being two moral young persons of op- 
posite sex. 

3.780 financiers were stabbed with paper- 
cutters in their luxurious libraries, while in the 




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Photoplay Magazine — Advertising Section 






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Stnd to Name 

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I ,-nneli ,•( Subscript ta 



drawing-room beyond their daughter's coming- 
out party was at its height. 

2,963 inebriate gentlemen in evening diesE 
fell into a fountain, and had to be fished 
out by other less liquored members of the 
party. 

5,690 young ladies stretched their arms 
yearningly toward young men who had just 
left them. 

17.940 shots were fired from cowboys' 
revolvers, the number of casualties resulting 
from these shots totalling sixteen. 

4-571 pounds of bear grease, 8.726 gallons of 
liquid veneer, 792 hogsheads of Macassar oil. 
four tons of pomade, 679 gross bottles of 
brilliantine, 1.342 carboys of vaseline, 7.223 
quart cans of shellac, and 987 barrels of patent- 
leather polish were consumed by leading men 
in beautifying their hair. 

5,480 pairs of domesticated doves were 
shown in close-ups sitting beak to beak. 

Of 3.140 young men condemned for crime, 
only two were guilty, and these two had com- 
mitted the crime to protect a woman's honor. 

3.420 gay clubmen, leading double lives, 
were shot through their evening-shirt bosoms 
from behind portieres, by the young women 
they had cast aside. 

6.840 sub-titles contained the word "ecstasy"' 
spelled "ecstacy." 

2,741 out of 2.742 dinners shown on the 
screen, consisted solely of a large papier-mache 
turkey. 

1.940 poor young orphans married noble 
young men who turned out to be millionaires. 

5.069 dashing Don Juans from the city went 
motoring in racing runabouts and stopped for 
a drink at an antique rustic well presided over 
by a beautiful and trusting barefoot maiden 
with curls down her back. 

4,681 virtuous and inexperienced young 
ladies from the Xew England R. F. D. routes 
became great prima donnas within a fortnight 
of their arrival on Broadway. 

3.568 mortgaged homesteads of aged and in- 
digent widows were discovered, at the last 
minute, to contain either a rich vein of oil. a 
gold mine, or a spring of rare medicinal waters 
— making their property worth millions. 

3,928 cheval mirrors were smashed by actors 
in their big scenes after they had looked at 
their reflections in the glass. 

3.422 husbands discovered their wives mak- 
ing baby clothes, and thus learned, to their 
amazement, that they were to become fathers 
within a week. 



hiom Name. 



Addrei 



One of the 
greatest features 
r of the year : 

The 

Autobiography 

of 

Pola Negri 

begins in the 
February issue of 

PHOTOPLAY 



Every ailvertlsemonl in PHOTOPLAY MAtiAZIN" la gui 



PHOTOPI \^ M\i.\/i\i VUVF.HTISING Si i iln\ 




Why-Dome. 
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1 in.- Ht : I G 1 .«■ i I | 

*T7//N M Y(W Tv lhf>.t>ttft<rit lutftf rifih |H »■//■ ,. 

■* fntmJOM, /J A*j/ A»i*«- M> tffM. in //*- f.i.f ttionih. :i.tt 
MtfJ uuptJ. unhrir Itkt, rtjnutom or HlffW) bwo HgnH MUr / V 
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ntfOUMI i» fi*ture\ you bj + c \e*n ") our oAjfnwtNHI »i// A*" 
it*tcd umvrtj thr injiirmeult of LurrtcMtieM on tht fart of the 
actor, author or dtreitor. 




] 



WAR 177/0 V WRITING 

IN " 1 he Eternal Flame," Norma Talmadge 
as the OotntteH fa seen seated at a desk writ 
big. \ subtitle reads, "For twenty two days 

she wrote him l>ut her letters remained un- 
answered." Then follows a fade in of Norma 
still seated .it the desk and -til! writing. Sort 
of 8 letter-writing Marathon, eh what? 

F.M. S., Bath, Maine. 

SOME ALARMING OMISSIONS 

\X ANY of us think "The Midnight Alarm" 
•1 "one of the biggest pictures of the year, but 
we could not help noticing the following: 

U the close of the scene when the building 
is on tire, CarringtoH is seen Seeing down the 
stairs when he suddenly remembers that he 
left his keys in the vault lock, lie does not go 
to recover them, but goes up to the roof. 
However, when the firemen come up to rescue 
Sparkle, the keys are gone and he is forced to 
burn out the lock. 

In another place Carrington jumps from the 
top of the building and meets his death. There 
is a spot of blood on the sidewalk beside his 
head. The scene is changed for a few seconds 
and then it shows the firemen picking up 
Carrington. After he is removed there is no 
spot on the pavement. 

HENRIETTA Piiilipp, Rock Island, III. 

BLAME IT OX THE DEVIL 
T\" "The Devil's Foot.' a Sherlock Holmes 
■•■picture, Holmes comes into the room where 
the two brothers and sister, who were mysteri- 
ously murdered, are sitting. The first time we 
see the sister, she is bareheaded. Yet, in the 
same scene, she has a black turban on. Again, 
when the doctor places his hand on her head at 
the last of the scene, she i- without her hat. 
How-did-she-do it? 

Xina Ensign, Anata, Calif. 

EA THER ALSO HAD A PLANE 

IN "Children of Jazz,'' Eileen Percy and 
Ricardo Cortez leave New York and Bab's 
father behind them in an attempted flight to 
Panama for "breakfast." But, due to a 
storm, they are forced to land on an island 
where a "former" friend of theirs lives, the 
only dwelling on that island. Eater. Theodore 
Kosloff their ho-t on the island 1 leaves them 
and the household turns out to see him o2. 
And there in the group is Bab's father, with 
whom it was impossible for her to communi- 
cate! But no sub-title told us of his arrival, 
nor how he located his daughter. 

Marie C. Ingersoll, Avon, X. J. 



Mill I \I'RI SS 

T\ "Up in the Air With Mary," I noticed a 
^■very Unusual thing. Two parties were start 

'ing to a deserted boat house to rest ue the heroine 

Ionise Lorraine'. One of these partir- 
started in a fast motor boat and the otlu i OD 
a mule, the boat starting first. When the 
mule got on shore the motor boat was about 
half way to shore. Fasl mule, ehl what!-' 

D. W. R., Huntington, W. Yirginia. 

HE SHAVED UNCONSCIOUSLY 

TX the picture, ".'slander the Woman," lea 
•Muring Dorothy Phillips, when I'.mile The 
Trapper, alias Dr. Molleur, shoots the Judge, 
the Judge lies mil oils, ions for several days 
Then it shows a scene when he returns to 
consciousness and there is not even one day's 
growth of beard upon his face. This is purely 
an oversight upon the part of the directors. 
J ri.is Mayes, New York City. 

HALF AND HALE 

TN "The Snow Bride," Alice Brady goes to 
J-her room and mixes up a cup containing half 
liquor and half poison. While she is praying 
a man comes into her room and tries to kiss 
her. During this her new husband goes to 
drink the cup of liquid and lo! there is only a 
half cup. Maybe someone else drank the 
half which was liquor and her husband the 
poison, because he was the one to die 

.1 TRAVELIXG AUDIEXCE 
TX " Circus Day-," every place the circus went 
■■■they had the same audience. When Toby 
sold popcorn he always sold to the same 
people. There were also three women who sat 
in the front row at each place. Did they enjoy 
the circus so much that they went from town 
to town to see it? 

L. B. C , Pittsford, X. Y. 

.1 PA TEXT PIIOXOGRAPII 
TX "I Am the Law," Rosemary Theby puts a 
-*■ record on the phonograph and, though it is 
evident that the piece is going, the label re- 
mains perfectly still so that the audience can 
read the inscription, "My Daddy's Gone 
Away." I would like to have the patent since 
it is very handy in many instances. 

Alice Armstrong, Bloomington, 111. 

BRAVO. BAVU? 

IX " Bavu," the villain, Wallace Beery, is sup- 
posed to be an uneducated Russian of the 
lower class. It is. therefore, very unfortunate 
that he spoke English well enough to enable 
an American audience to read his lips. 

W. A. II., Jacksonville, 111. 




^1 CORRECTION 

Editor Photoplay Magazine: 

Dear Sir: In the Xovember issue of your magazine, there appears a criticism of 
the picture "Divorce."' This is in a column headed "Why Do They Do It?" and is 
signed by Bob H. Jutt, Louisville, Kentucky. It may sometimes happen that the fan 
might make an error as well as an author, actor or director. Enclosed you will find a 
piece of film — the insert of the letter to which Mr. Jutt has referred. You will please 
note that the date on the letter is September 15th, 1922, and not September 20, 1923. 
Therefore the pleasure Mr. Jutt experienced on July 4, 1923. of seeing this picture, 
need not have been marred had he put on his glasses before going to the show. 

John J. Mackenzie, Chester Bennett Productions 



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Photoplay Magazine — Advertising Section 



The Romantic History of the Motion Picture 



( OlNUM I I) I ROll PAGE 73 




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Fox and his exchange were last on the list. Fox 
was -trough- entrenched. He had large hold- 
ings in theater interests all over the city of New 
York, and he had allied with him many persons 
of financial and political power, among them 
Tim Sullivan, an astute old party often de- 
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on a leash, in the vicinity of a temple of liberty 
known a> Tammany Hall. 

The Genera] Film Company took the squir- 
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the grand climax and finish. 

It was ju-t as well. If some of the rabbits 
had known what a fight the tiger was going to 
put up they might have developed a dangerous 
courage. 

Early in September.of ion. William Fox got 
a telephone call from the offices of the General 
Film Company in which he was invited to call 
on Percy Waters, general manager. He went. 

TT appeared that Mr. Fox was advised in a 
■'-friendly but exceedingly direct way that this 
was a most excellent time to sell The Greater 
Xew York Film Rental Company to the Gen- 
eral Film Company. 

This Mr. Fox did not think especially desir- 
able. The Greater Xew York, according to his 
testimony in subsequent litigation, was earning 
about $75,000 a year and cost him very little 
effort. He remarked that his business was 
worth about $750,000, and indicated he would 
rather keep it. 

This was the signal for the entry of J. J. 
Kennedy, the great persuader. 

"I would not want to let go at all, even 
under this pressure, unless I got at least $150,- 
000," Fox announced. 

Kennedy went down into the little black 
book. "In my opinion we could pay you 
$89,000." 

The interview ended with declarations of 
friendship and with the status quo unimpaired, 
but full of static electricity. 

The evening of November 14. iqii. a few 
hours after the Tuesday meeting of the Motion 
Picture Patents Company, a messenger boy 
dashed into the Fox offices a few minutes before 
closing time, bearing a letter. 

In this letter the Motion Picture Patents 
Company In its own polite cri-p way an- 
nounced to the Greater Xew York Film Rental 
Company that, on 8 o'clock on Monday morn- 
i.ig of the ensuing fourth day of December, 
iqii, its li.en-e would be cancelled. Bang. 

Fox went to sec Kennedy. This time he 
asked for $125,000. 

Kennedy promised to take it up with the 
executive committee. 

Fox held many conferences with bis friends 
in the General organization, Jacques Bent of 
Pathe and Albeit E, Smith of Yitagraph. Then 
he went back to Kennedy. 

"There is not a chance of getting you any 
more than the schedule," Kennedy announced 
with an air of regretful resignation. 

lie reached for the little black look. 

Consulting the book, Kennedy murmured 
something about $78,000 or $80,000, with a 
crafty eye on Fox. 

Fox was on the alert at once. "No, the 
schedule was SS0.000." 

Kennedy was watching carefully. The tiger 
had come into camp, 

"Well, maybe — I'm willing to stand by any 
figure I gave you." 

Fox grew melodramatic, pleading. 

"See if you can't get me a hundred thou- 
sand." On the witness stand a few years later 
he recounted the Story of that sad. bitter inter- 
view, explaining in scenario fashion: "Re- 
member, I am dving now. Down and out two 
days later, and everybody pretending to be my 
dearest friend." 

Kennedy went to the phone and called up 
a member of the committee. ''Fox is here 

m- advertisement In PHOTOPLAY MAGAZINE is guaranteed. 



ready to sell to General. He wanted me to try 
to get him a hundred thousand." 

Then Kennedy hung up the phone and 
turned back to Fox, with the air of one who 
had done his I est and failed. 

"All these fellows are your friends, but they 
make me the Patsy. They want to be the good 
fellow, and they are making me the bad fellow . 
He -aid the .-chedule called for 878,000. Better 
let me stand by my offer of Soo.ooo." 

Fox was moved with great emotion. 

'"Mr. Kennedy, beggars can't be chooser-. 
My life is coming to the last. On December 
4th the Greater Xew York shall be no more. 
I suppose the best thing I can do is to agree to 
accept your offer." 

The agreement was made and the contrai t 
forwarded to Fox; al-o a formal withdrawal 
of the cancellation of his license. 

But Fox wa> not done yet. He submitted 
the contract of sale to Rogers & Rogers, hi- 
attorneys. and on December 6, GustaVus A 
Rogers called up Kennedy to announce that 
his client would not 'ell on the terms offered. 

Forthwith, on December 7. again came a 
notice of cancellation of the Greater Xew York 
license by the Motion Picture Patents Com- 
pany, effective Christmas Day, ion. 

Biograph refused thereupon to deliver film 
to the Greater Xew York. Fox, through his 
attorneys, went into the state courts of Xew 
York with an action for injunction. Years of 
complicated litigation followed, while Fox suc- 
cessfully fought from injunction to injunction, 
forcing a continuance of film service from the 
licensed ,-tudios of the Patents Company or- 
ganizations. Meanwhile he went into the pro- 
duction of film on his own account. Fox did 
his fighting in the state courts and on his home 
grounds where all of his resources could be 
brought to bear. 

NOT all of the Fox battles were fought in 
court. Some of them erupted in mysterious 
night raids and conflicts at the Greater Xew 
York exchange. There was strong arm work 
to be done. 

A significant bit of Fox strategic policy came 
with the acquisition of Winficld Shcchan. now 
vice president and general manager of the con- 
cern, who went to the film organization from 
his position as secretary to Rhinelandcr Waldo, 
then police commissioner of the city of New 
York. If Fox needed a militia. Winnie Sheehac 
knew where there were recruits. 

William Fox, the erstwhile cloth-sponger. 
was lighting his way to millions in a big ami 
bitter game. A remarkable stroke, destined to 
affect all the course of the industry was yet 
to come, another of the secret, untold tales of 
the screen to come in an early chapter. 

The subject of the price paid for exchanges 
by the General Film Company has been the 
source of many erroneous traditions in the film 
world. Reference to the records of the cor- 
poration discovers that George Kleine. with 
one Canadian and four American exchanges, 
received the largest payment, a total of $346,- 
714.87. Next in total came the Pittsburgh 
Calcium Light exchanges of Pittsburgh. Cm 
cinnati, Omaha, Des Moines and Wilkes- 
barre, sold for 8250.205. 16. This concern was 
the property of Richard Rowland, now the ex- 
ecutive head of First National, and James B. 
Clarke. The sale set them fancy free, and in 
time Rowland came back to build Metro and 
make more screen history, with the memorable 
"lour Horsemen of the Apocalypse;" But 
that is another story. 

Anil while we are in the thrilling domain of 
figures, it is of interest to note from the records 
of the time that, on October 31, roto, there 
were in the United States a total of 0.480 mo- 
tion picture theaters, a mighty growth from 
the nickelodeon beginnings of 1005, a period 
of only five years. Of these theaters the Pat- 
ents Compaivy held dominion over 5,2Si ami 



Photoplay Mw.\/im Advertising Section 



i i 1 



the Independents served 4,109 Dipping again 
into the dusty statistics 01 the ow Patent: 
Company files twenty months later, July 7, 
1912, we find a total <>i 1 1,860 theaters, about 
equally di\ ided between the I i> ensees and the 
Independents. This >|r!1- .i growth of 36per 
i cut in Ic-s than two years. The Promised 
l and was growing ii» her. 

11k- pressure of the Kennedy General cam 
exerted far reaching influences i" many 
directions. It set in motion defensive move 
incuts and tones that were, in a low Ini-y 
to remake the industry. 
Just when the movement to buy the licensed 
exchanges for General had ju>t [airly under 
way, a secrel meeting of tin- cm hange men was 
called at Indianapolis, Ind. Up in a parlor at 
the Claypool hotel Richard Rowland, Janus 
B. Clarke, Robert Lejbler, II. E. Aitken, John 
R Freuler, Emanuel Mandelbaum and a num- 
bei 01 othei exchange owners took counsel. 
It was agreed that they would --land out 
against a sale to the General Film Company. 
Hardly had this decision been reached when 
a tap on the door admitted a bellbo) bearing 
a telegram addressed to II E. Aitken. 

Wish you success at your meeting. 

You have nothing to [ear 

J J ki \\i:dv. 

I\ some manner, known to him only, Ken- 
nedy in New York was informed of the secret 
meeting, the hour at which it was held and the 
room number. The message with its reassuring 
words was disconcerting to the exchange men. 
This fellow Kennedy was uncanny. 

The !ir-t break in the compact came when, 
the following clay, James H. Clarke of the 
Pittsburgh Calcium Light exchanges, an- 
nounced that they had decided to sell to Gen- 
eral, because they had been offered a most 
extraordinary price. 

John R. Freuler, of Milwaukee, went out of 
the meeting with a decision shaping itself in 
his mind. He decided that he could see a good 
distance into Kennedy's plans. Freuler d< 
cided to "go Independent" when the proper 
time should come. 

Opportunely, in August, Joseph IIopp of 
Chicago and Aubrey Kennedy, who was con- 
nected with the Essanay lonccrnof the Patents 
group, waited on Freuler at his Milwaukee 
office with a project to go into the production 
of pictures. 

Then and there they set in motion the train 
of events which was, within six years, to make 
Charles Chaplin the world's highest salaried 
actor and bring about the resultant star devel- 
opment which is today charged with being the 
major ailment of the screen. 

Following this Milwaukee conference, Freuler 
went to Chicago where he met Samuel S. 
Hutchinr-on, also interested in production pos- 
sibilities. Hutchinson had been a druggist in 
Ravenswood, a Chicago suburb, when he en- 
tered the film business with Charles Hitc, for- 
merly an able and genial vendor of buns and 
"hot dogs" on the campus of Northwestern 
University at Evan-ton. They were the pros- 
pering proprietors of the H. & H. exchange in 
Chicago. They, like Freuler, needed film. 

Somewhere in the rapid manipulations of the 
project, Aubrey Kennedy dropped out. Freuler 
was cautious and Hutchinson was silent. They 
were still buying licensed film. This time they 
would take no risk of discovery by that prying 
J. J. Kennedy in New Y'ork. So they incor- 
porated their new film producing company 
under the charming name of "The O'Malley 
&: Smith Advertising Company." 

The O'Malley & Smith Advertising Com- 
pany thereupon went secretly across Lake 
Michigan from Chicago and landed stealthily 
on the sandy shore at Benton Harbor, where 
( dlbert P. Hamilton, a director taken furtively 
from the Essanay Company's forces in Chi- 
iago. made the concern's first picture, an In- 
dian drama, one whole reel in length. It was 
an experiment. They wanted to see if the 
thing could be done. 

With the encouragement of the result the 
O'Malley & Smith concern came out from 




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under cover with a bold announcement in the 

trade journals of its new name, "The American 
Film Manufacturing Company," October ;, 
iqio. The advertisement was calculated to 
inspire the motion picture world with the idea 
that this brand new independent concern 
started with all of the cxpertness andmcritsof 
the licensed studios. It proudly presented a 
list of no less than twenty employes, all fol- 
lowed by the descriptive line, "formerly of 
Kssany." 

The American raid practically cleaned out 
the Kssanay staff over night. Among those kid- 
napped in the American's raid were Allan 
Dwan, scenario expert, Charles Ziebarth, tech- 
nical expert, and J. Warren Kerrigan, leading 
man. 

George K. Spoor, of Essanay, grew decidedly 
displeased and vigorously took the warpath 
against the American, starting with an injunc- 
tion action to prevent further raids on his stall. 
This injunction stood for many years, and, at 
last reports, Samuel S. Hutchinson of the 
American, and Spoor, neighbors on Chicago's 
north side, have never become downright 
chummy. 

On November 4, ioio, Freuler addressed the 
Patents Company, giving notice of cancellation 
of his license. He wanted to beat them to it. 
November 14 the American Film Company 
burst forth with an advertisement announcing 
its first release, the Benton Harbor experiment, 
under the title of "Romantic Redskins." And 
promptly on November 30 the Motion Picture 
Patents Company issued one of its neat an- 
nouncements, stating that the licenses of the 
Freuler and Hutchinson exchanges, the West- 
ern of Milwaukee and Joplin, and the H. & H. 
of Chicago, had been cancelled. 

The American Film Company saw a rapid 
growth in the ensuing months and for some 
years enjoyed a remarkable prosperity. One 
of the minor stockholders, who invested five 
thousand dollars in the concern, took that sum 
out in annual profits for a number of years. 
Under the name of the American several play- 
ers rose to stardom and a wide fame. 

TN the winter of 1010 the American stock 
■■-company was sent into the southwest to make 
"westerns," and originated there the pictures 
long known under the " Flying A " brand. The 
brand learned to fly eluding the pursuit of the 
Motion Picture Patents Company. 

The first stand of the American was at Red- 
lands, California, then to La Me-a. There 
some difficulty was experienced because snipers 
and persons unknown tried target practice on 
the American's one and only camera out on 
location, using a long range rifle from the pro- 
tective cover of a mesquite thicket. If the 
precious camera had been destroyed, the 
American's producing program would have 
been set back many months. 

An insight into the status of the art of the 
dramatic film of the period is given by con- 
sideration of a typical advertisement of the 
time, an announcement that was made over the 
name of Carl Lacmmle of the Imp release of 
March 2S, 1010: 

TRANSFUSION 

Length 060 Feet 
This is what I call a film classic. For 
it not only tells a beautiful love story, 
but is educational. It shows the process 
by which blood is transfused from a 
healthy person to an ailing one. Al! 
this is worked in as a part of the love 
story. The whole plot is intensely ab- 
sorbing, the acting is pluperfect, the 
photography is clear and distinct, the 
Staging masterly! 

This was a charming sample of the thriller 
productions of the period — bloody, but 11c. it 
and timely. 

In the autumn of 1010 the ri>ing profit- of 
their picture making efforts in the New York 
Motion Picture concern, led Charles O. Bau- 
mann and Adam Kessel to the decision to add 
another producing company for the making of 

,v BltVCrtlSCItlcnt ill PHOTOPLAY MAGAZINE la Mi.ir.int.v.l. 



drama-. Thty incorporated the Reliance con- 
cern, a name which continued -ome \ear>. 

Just at this juncture. Arthur Johnson, a 
favorite at Hiograph and the neare-t to a star 
that the screen had then produced, was getting 
into the bad graces of Biograph's direc tor-in- 
chief. D. W. Griffith. John-on was perennially 
and perpetually late in arriving at the studio 
and when he arrived he often did not exactly 
re.-emble the young minLter t\pe for which he 
was so often ca-t. 

This situation broke into a storm of word- 
one forenoon when Johnson dragged in, and the 
star stalked out with his feelings considerably 
hurt. 

Johnson took himself to an adjacent tavern 
where he resumed his spiritual investigations 
of the night before. 

The grapevine telegraph swiftly spread the 
news that there had been a fuss between 
Arthur Johnson and Griffith. 

Charles Baumann, of the newly formed Re- 
liance, rode hot on the trail of opportunity. 
He strolled into the bar where Johnson was 
communing with his injured dignity, and the 
affable, sympathetic gentleman in the white 
coat set two glasses up on the mahogany. 

Y\ hen Baumann stepped out, he had John- 
son under contiact with Reliance and Johnson 
was feeling much improved. 

In fact, Johnson was so much cheered up by 
Baumann's attentions that he spread the 
propaganda of Reliance strongly among Iiio- 
graph's players. 

When the first Reliance release was an- 
nounced, October 22, iqio, in advertised de- 
fiance of the Motion Picture Patents Company, 
the cast included, in addition to John-on. 
Marion Leonard. Henry Walthall, James Kirk- 
wood, Gertrude Robinson, all formerly of Bio- 
graph and Phillips Smalley, who had been with 
another independent concern, Edwin S. Por- 
ter's Rex Company. 

In addition. Tony O'Sullivan of Biograph 
fame, was in charge of Reliance's location and 
property work. 

RELIANCE had started with a sweeping raid 
on the Patents Company's Biograph strong- 
hold. The title of that first Reliance relea-e, 
starring Arthur Johnson, was "The Grey of the 
Dawn." 

The title may have been either reminiscent e 
or prophecy. 

Smalley was the first Reliance director. 
Stanner E. Y. Taylor of Biograph. husband of 
Marion Leonard, was soon added to the Re- 
liance staff and took charge of production. 

Reliance made its first pictures at Coney 
Island. Then, driven in by the snows, it took 
up city quarters at 251 West ioth street. 

Biograph remained the dominant producer 
of motion pictures of quality, prospering under 
the commercial advantages of the Motion Pic- 
ture Patents Company and the superior abili- 
ties of D. W. Griffith as a director. This same 
winter of iqio-ii brought significant op|x>r 
tunity to Mack Sennett Frank Powell, who 
was to have directed "Comrades." one of the 
important pictures of the season, became ill 
just as it was to go into work and, in the 
emergency, Sennett was assigned to the 
picture. This brought him conspicuously to 
the attention of the industry and before long 
opened the door to the career that has sin- e 
made him famous. 

It i- amusing to recall that this same season 
Mabel Xormand. by now well established ii 
the graces of Biograph, was lured to Reliance. 
She appeared in one picture and incurred the 
displeasure of the director, who declared her 
work unacceptable. She returned to Biograph 
promptly, eventually to share in the rise ol 
Mack Sennett. 

In our next chapter we will review the inter- 
esting and complex affairs of the period in 
which dissensions arose among the prospering 
independents, with armed war. ending in the 
formation of the once great Mutual Film Co: 
poration and upheavals which changed the 
whole aspect of the battling industry. 

f TO BE CONT1XITD ] 



Photopi w Magazine Advertising Se< n<>\ 



1 '3 



Not in the Scenario 

I CON ll\l I I) I KlIM l'\l.l 56 I 

"you an' a stranger and 1 1 1 * — affair concerns me 
alone. Circumstances h.i\ i- brought you into 
the situation and now I .ivk on!) that you 
regard it as a confidence. For the rc-t, Angelo 
and 1 must attend to ii 

■ Vou mean thai you <li> not tnt^t me?" 
I \ asked. 

\(i, I would tru-t you, tor I watched you 
,i- you listened to the music that iir-t da) 
But the tiling that must be done is something 
into which 1 h.i\ <.- no right to >lra^ you." 

"But I wish to help. You don't under- 
stand It b unthinkable that a ;Jrl like Mar 
guerite should be in the power oi such a man 
Come! We can catch them before ihey get 
to the railroad " 

"Yes," Zappettini answered, "it must be 
before — or not at all " 

He hail spoken the words quietly but some- 
thing in his tone carried the impression of a 
deadly purpose. 

For a moment Larry studied him. lie had 
thought of Zappettini as a visionary artist. 
engrossed in musk, childlike in his rages and 
yet as harmless as his moods were violent 
he found himself gazing into eyes which 
burned with hatred and whieh held no merey. 
hen let me join you?" Larry pleaded. 
"Yon need me. I don't ask to hear your storv. 
] want to help." 

Zappettini thrust out his hand. 

•'Thank you." he said. "I accept in the 
spirit in which you offer and because I need 
you And while 1 cannot tell all, I must tell 
enough to put myself in your power if I am 
to show- you the need of what I must do. 

I DID steal Marguerite. I had heard 
her sine and I knew the jilorious life she 
might have. But my taking her. saving her 
from a life in which she would have been 
trained for crime, was accidental, an after- 
thought. The real storv concerns another. 

"The reputation, the future, of a woman 
was in danger. She had be ome the un- 
witting victim of a gang of blackmailers and 
she sought me in her trouble because — hecause 
she was the only woman I ever loved. 

"Angelo. my deaf-mute servant, knew her 
and loved her. Only to know her was to love 
her. It was when on an errand in her behalf 
that I first saw Marguerite, heard her sing. 
She lived in the house of her father, the leader 
of the gang. 

"But the man I went to see was not the 
leader. He was a lawyer, respected. No one 
knew his connection with the gang. If he 
had demanded money I would have given it 
gladly. But he was playing for something 
eke. 

"We went to see him several times. Angelo 
and I. One night I determined to kill him. 
Tt was the only way and I would have done it. 
I meant to. but Angelo was quicker. His knife 
reached him fir-t 

"The moment it was done I knew we must 
hide. The law in its clumsy efforts to attain 
justice would have ruined the life of the woman 
we sought to protect. It was then, just as I 
was going, that I saw my opportunity to take 
the child, to snatch her from a sordid life and 
save for the world the great gift she has. 

"We were never followed. The gang had 
fled. Some were captured but nothing was 
proved against them. There was only the 
stiletto with the finger prints on the handle, 
mine, for I had jerked the blade from the body. 
and the father, he alone, had seen me. 

"Later I heard he had been sent to prison 
for another crime and I felt safe. We were 
never connected with the crime but now he 
has escaped and sees his opportunity." 

"Opportunity for what?'' Larry demanded. 

"For a fortune, the fortune she can make 
for him. He has not only a beautiful woman 
but a divine voice as well. She need sing only 
a note in Paris or Milan and he can write his 
own figures in the contract. 



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" Xo wonder he has let me train her. Now, 
so long a> I li\e. be has a club to hold over her 
head. He can make a slave of her, rob her of 
the glorious life to which she is entitled." 

"And you?" 

Larry could not repress the question. 

" I would gladly die for Marguerite." Zap- 
pettini answered, "but it docs not re>-t with 
me. The story must never be told. There 
i- the other woman. Thus, you see," and he 
paused significantly, "the matter must be 
-et tied here, quietly, for all time. That man 
must never reach the railroad." 

"All right," Larry agreed impetuou-ly. 
"He won't." 

'Wait. I mu-t tell Angclo. I had wor- 
ried, since that day he was bound and gagged. 
I feared this, but I clieved it was only the work 
of common thieves. We were molested once 
before. 

"But he has been. working on the matter. 
He has searched the forest around us. Last 
night he was gone. Perhaps now he can tell 
us something." 

Zappettini went to the room off the kitchen 
and returned at once with the deaf-mute. 
With the manual alphabet the maestro spelled 
out a brief account of Marguerite's disappear- 
ance and as his hands mo\'ed and waved con- 
vul ively Angelo became more and more ex- 
cited. At last he, too, began to spell out 
words. 

" He says he found a camp of men. two. on a 
hidden bay a mile to the east of us." Zappet- 
tini interpreted for Larry. "They have been 
there some days, have walked through the 
fore-t to thi- place. He could not see them 
in the dark, did not learn who they arc." 

"They are the ones who bound him." Larry 
said. "Our coming that first day spoiled 
whatever plans they had then. They waited 
until we left." 

"And I thought you and your friends were 
impertinent interlopers!" 

But Angelo was again busy with his fingers. 

"He says he did not see the men who 1 ound 
him," Zappettini explained. "They attacked 
him from behind." 

"That's all beside the question." Tarry 
interrupted. "We've got to save Marguerite 
and they have an hour's start." 

"You are right, my friend." and Zappettini 
spoke to Angelo. 

The deaf-mute ran to the kitchen and came 
back with hi< rifle. 

"It is the only weapon we ha\-e," the 
maestro explained as he started toward the 
door. 

AT the dock Angelo dragged a canoe to the 
water with one hand while he talked with 
the other. 

"He thinks we should divide forces." the 
maestro said. "There are two railroads, one 
fifty miles north, the other as far to the south. 
These people may go cither way." 

"But their camp in the next bay!" Larry 
interrupted. "They may have gone there 
before starting, to pi k up their outfit " 

Zappettini and Angelo immediately began 
a silent but nevertheless hystericaldiscussion. 
Their lingers fairly twinkled, their arms waved 
violently and their faces were twisted by con- 
vul-ive effort- to communicate their thoughts. 

"What's he talking about?" Larry demand- 
ed impatiently. 

Zappettini babbled something in Italian 
without turning his head and his fingers flew 
the faster. Larry watched him in bewilder- 
ment for a moment and then realized that the 
maestro had lost his self-control, that the un- 
wonted calmness with which he had discussed 
Marguerite's disappearance when they were 
in the cabin was gone. 

"I don't know what to do!" he cried sud- 
denly as he turned to Larry. "The wilderness 
is so great, so empty, so trackless. There 
are so many waterways, so many places where 
they might reach the railroad. If we take 
one it is a mere chance." 

"What docs Vngelo say?" Larry interrupted. 

"He feels sure they will co to the south. 



He in-ists that we go that way. But I don't 
know. If we were wrong, if we didn't find 
her — " 

Angelo was in hL- canoe and beckoning im- 
patiently. Larry, knowing that time was 
precious, anxious to begin the pursuit, sud- 
denly saw that he must remain calm and reach 
a decision. 

" Go with Angelo," he said quickly. "Take 
the southern route. You can tell at the first 
portage whether they have passed. I'll take 
the other up the White Otter River. If they 
went that way I'll know and keep after them." 

He forced acceptance of his plan by jump- 
ing into his own canoe and paddling away. 
A moment later the other craft started and it 
soon passed him. Angelo was strong and a 
skilled canoeman and the maestro added his 
feeble efforts at the 1 ow. 

They kept on down the shore toward the 
mouth of the bay and the open lake to the 
south while Larry slanted across to the other 
side of the entrance and turned to the left. 

When he started it was hi- intention to go 
straight to the gorge in the White Otter River 
and learn if Marguerite and her father had 
passed that way but as he settled to his work 
and the other canoe disappeared on the far 
side of an island. lea\-ing him alone, he began 
to comprehend just the sort of an enterprise 
upon which he had embarked. 

Yet Larry- gave heed only to the immediate 
facts in the case, to the chances of success, 
to the course he would adopt if he did overtake 
Marguerite. He never stopped to marvel 
that he. a comparative stranger, had thrown 
himself so passionately into her defense. 

T_JI'. only knew this girl whom he had never 
-*- -Leen until three days before, the girl who 
had never heard his name and had given him 
the c\qui ite thrill of treating him as a wholly 
rormal person, was in danger of ruining her 
life, of sacrificing a glorious future. 

And it was not the marvelous voice or her 
beauty that had attracted him. He was rot 
even affected by the future which undoubtedly 
was hers. He had sensed in their first meetirg 
that here was a sincerity and a wholesomeness 
that meant more to him than beauty — he had 
seen too many film stars — and her abandon- 
ment of everything to save the maestro was all 
that was needed to con\ince him of a purity 
and beauty of character such as he had only 
d reamed of. 

Nothing, he knew, could be more criminal 
than her sacrifice and upon him rested largely 
the action necessary to prevent it. His deter- 
mination centered upon that thought 1 ut 
always he himl led with the question. "How?" 

In his eagerness for speed his left hard 
slipped on the head of the paddle shaft ard 
the blade struck the edge of the gunwale with 
a peculiar click. He stopped short, held ly 
a sudden recollection. He had heard that 
sound before and then he remembered that 
it was the one that had come to him in the fog 
an hour before and almost at the same place. 

Larry looked 1 ack to the point which Mar- 
guerite's father had chosen as a meeting spot. 
TIi> own course v lien he had groped through 
the fog had been farther out in the lake. The 
sound had come from his right, probably from 
near where he now was. And that click, he 
felt certain, had been made against the canoe 
which was bearing Marguerite away. 

He looked ahead and saw a narrow opening 
to the left. It led. he believed, to the 1 ay 
upon which Angelo had found the camp of the 
Strangers and. ri-king the chance that Mar- 
guerite had been taken there, he turned his 
canoe into the passage and shoved it swiltly 
forward. 

Altera quarterof a mile Larry came out on a 
wide part of the lake he had never seen 1 efore. 
A chain of islands cut it off from the open 
stretch to the south that he had traversed. 
He stopped paddling to survey it. for some- 
where on the northern shore, he felt certain. 
was the camp he sought. 

Put before he had begun to look for tell-tale 
smoke or a spot of white his eyes caught a 



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movement against an island straight .ilu.nl 
and he saw a canoe with three people in i< 
disappearing toward tin.- open lake. Then 
u;i> no doubt in his mind a> to u lio it u.is and 
lu- began the pursuit at on< e 

By following the chain of islands he could 
keep out of >i^ht and in ten minutes he rea< bed 
the place where he had seen the i anoe. \h>\ bag 
cautiously through n channel between two 
islands, he saw it a mile ahead, ju-t turning a 
iHiint. 

Larry estimated that he was three miles 
from the river where the portage, around the 
rapids would be necessarj and he knew that in 
those three miles he must make up the distance 

between them. 

For it was there at the portage, he knew, he 
must overtake Marguerite and rescue her, at 
the portage where the nun ie company was en- 
camped and any number of men could come 
to hi- assistance. 

He settled grimly to his task and though his 
shoulders ached and his hand- were blistered, 
he -hot the canoe swiftly forward. Mar- 
guerite's fate, he believed, rested on his arriving 
in time. 

CHAPTER VII 

WHILE Larry MoncriefT had never been a 
hero except on the screen, and even 
there his most daring exploits were achieved 
by a double, he was in no sense a physical 
weakling. Yet no one ever knew what his 
attitude toward the use of a double might be 
and as a matter of fact he had none. 

From the time Dave Mann had jerked him 
out of the big lumber company's office Larry 
had simply obeyed orders. He had looked 
upon Dave as a benefactor and a- a mentor and 
lie bad always complied without question. 

Dave himself had often been puzzled by 
Larry. He had come to respect his desire for 
seclusion, or, rather, to heed it. He knew the 
voung man was "nuts over music," that he 
was. to use movielartd's own term, a "clean 
liver," that he had managed to keep the fan 
and form of an Adonis without the disin- 
tegrating effects usually accompanying sudden 
-t.irdom, and that he was a capable and easily 
handled actor. 

Dave did not know that Larry had once 1 een 
the best wrestler in a small athletic club, that 
he had given up boxing only because it en- 
dangered the arrangement of his "million 
dollar map," and that in high school he had 
won through to a couple of state champion- 
ships in track athletics. Xor did he know that 
l.arry always kept in perfect physical con- 
dition. 

But the actor had been as reticent about 
these things as he was about his movie pres- 
tige. He would not have hesitated to tell 
Dave of them if Dave had asked, but Dave 
never had. 

One result of this clean living and constant 
training had been an unfailing flow of snap 
and vitality in the trying and exhaustive 
work before the camera and a preservation 
of the famous face and figure. But Dave had 
merely accepted these as part of the marvelous 
qualifications of hi- protege. 

Yet Larry's living habits were to produce 
another result. Though he was new to a 
paddle and lacked the skill that can come only 
through long practice, he did have the strength, 
the endurance and the dogged determination 
necessary in a stern chase. 

And he soon found that he was gaining. 
When he reached the point around which the 
other canoe had disappeared he saw it down 
the shore ahead of him. and much nearer. But 
he had to wait until it turned the next point 
for he did not dare show himself in pursuit o 
soon. 

After reaching the second point he found 
that a string of islands along the shore gave 
him shelter and he crept up faster still. When 
he came out -t the mouth of the bay into 
which the river entered he was only a quarter 
of a mile behind and he could plainly see Mar- 
guerite and the two men disembarking at the 
beginning of the portage. 



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Almost immediately the men lifted the 
canoe to their shoulder- and. with Mar- 
guerite ahead of them, started aero--. 

Larry paddled now a- he 'never had before. 
He fairly lifted the little craft from the water. 
He knew that he mu-t reach the shore and 
run aero-- the portage in time to catch them 
before they went on up the river. 

Ju.-t exactly what he would do when he 
overtook them he had not considered. He 
neu that nearly twenty movie people and 
canoemen were there, though across the river 
from the portage, and that somehow he must 
accomplish his purpose. 

When he reached the shore he let the canoe 
strike without diminishing speed and converted 
the lurch with which he was thrown forward into 
a running start up the steep trail, never seeing 
two heavy pack- beside it. 

The path twisted and turned among huge 
houlders and balsam thickets before it emerged 
at the top of the gorge. ' From this open -pace- 
Larry saw Fay and Peggy across the river, 
climbing from the camping place on the lake. 
Ahead of them several canoemen were busy 
cutting spruce-poles. 

I Jut he gave no heed to them. The trail 
dipped down into the gorge, running along 
a narrow ledge, and as he turned a bend he 
could see the top of the rapids. The canoe 
had been set down partly in the water and 
Marguerite stood beside it. He felt certain 
that she saw him. 

A swerve in the trail hid her and Larry ran 
the faster. He was approaching the spot 
directly over the big eddy above the falls. 
The ledge was narrow here but straight until 
it turned abruptly around a high point of rock 
and he increased his speed. 

When he dipped down into the gorge Larry 
had caught a glimpse of Dave Mann and Roy 
Quigley working with a camera on a little plat- 
form that had been built out over the water. 
They were directly opposite him now, no more 
than seventy-five feet away, but in that 
moment, with the roaring river between them, 
they might as well have been on another 
planet for all the assistance they could be. 



AND then as Larry slackened his pace at 
the sudden bend in the trail he came face 
to face with two men. One was about fifty, 
rather small and with a mean, cunning coun- 
tenance and quick, rat-like eyes that associated 
themselves at once with the thin, whining, 
threatening voice he had heard the previous 
afternoon through the open window of the 
Zappettini cabin. 

The other was young, about Larry's own 
age, and slightly heavier. 

Larry's eyes widened in exultation when he 
saw them and they held. too. an expression of 
ferocity. Until that moment he had not 
known how he hated these two who were 
planning to ruin Marguerite's life. And that 
exultation and that ferocity combined to force 
an unconscious exclamation from hi- lip- 

"I caught you!" he panted. 

Already the two had guessed his object and 
the glances of each had shifted to the nun it- 
men across the river, both still absorbed in 
their task. Then with a movement quick as 
; light the smaller jerked an automatic pistol 
from a pocket. 

At the Hash of his hand Larry had ducked 
instinctively and his lingers touched a jagged 
boulder on the crumbling, sloping wall of the 
cliff beside him. With a movement that at 
once threw his own body to one side and hurled 
the rock, he knocked the pistol from the man's 
hand just as it was tired. 

At the same instant the younger man leaped 
forward to catch Larry off hi- balance. Hut 
the actor had already gathered hi- feet 
beneath him and met the onslaught with a 
lunging tackle that threw hi- assailant heavily 
near the edge of the trail. 

Larry was now between the two men but 
before the younger could get to his feet he 
sprang past him and whirled to confront them 
loth. And. rather than wait for them to 
coordinate their forces, he leaped to the attack. 



There began as desperate and thrilling a 
battle a- the screen has ever shown. A 
hundred feet above the writhing eddy in the 
river ju-t before it plunged over the falL-, 
with a cliff rising sheer above them, on a shelf 
not more than live feet wide, with the thunder- 
ing roar of the cataract and the snarling rush 
of the rapid- furnishing a savage orchestral 
accompaniment, Larry Moncrieff. "'million 
dollar beauty." whom Dave Mann had pro- 
tected from all danger, was engaged in a life 
and death struggle with two escaped convict-, 
men whose training and in.-tincts forbade all 
consideration of fairness or the value of a 
human life. 

Across the gorge, held spellbound by the 
sight, were Fay Urainerd and Peggy Dare. 
Dave and Roy and a half dozen of the canoe- 
men. Had he not been so occupied Larry 
would have seen Dave turn excitedly to Roy. 
and had it not been for the noL-e of the water 
he would have heard the familiar. "Twist her. 
Quig!" The camera man, as imperturl able a- 
ever, began grinding away with his little lev er. 

Had he looked Larry also would have seen 
Dave rush madly up the side of the gorge, dash 
toward the -taring woodsmen and send them 
running toward the camp and a canoe with 
which to cross below the fall- and go to the 
re-cue. as if there were a possibility that they 
could get there before he was thrown over the 
cliff. 

But Larry Moncrieff had no intention of 
being thrown over the cliff. Ebullient ferocity 
had driven him to the attack and a sudden 
intense and inexplicable hatred kept him at 
it. but he was cool now, once the possibilities 
of the encounter became apparent. 

And a cool mind was opposed to him. The 
big man rushed again and again, striking and 
attempting to gain a hold on the actor'.- I odv. 
He charged like a demon, hi- lips writhing 
with a bestial snarl, but all the time, darting 
back and forth, careful to keep away from 
the edge but watching for an opportunity, 
the little man. an open knife in his hand, was 
seeking an opportunity for a quick thrust. 

"L_TK moved rapidly but unhurriedly. His 
*• -"-black, baleful eves were steady and cal- 
culating and sometimes, as was intended they 
drew Larry'.- from his more aggressive an- 
tagonist. 

But Larry astounded even the imperturbable 
Roy Quigley and sometimes caused a varia- 
tion in the automatic motion of the hand on 
the little crank. He was in and out like a 
flash, risking a step toward the perilous edge 
for an effective blow, stooping to pick up a 
rock and hurl it at the little man when he crept 
too close. 

He himself was not escaping punishment 
while he indicted it. Blood streamed from 
his nose, there was a gash across one check 
and three of the teeth which figured in the 
priceless smile that had won flappers by the 
thousand were loo-ened. 

At last a well-aimed rock struck the little 
man a glancing blow on the head and drove 
him back. Larry sparred for a moment, took a 
spent body blow and then staggered back as if 
in distress. 

Instantly the younger man leaped in. his 
eves alight with triumph, only to be met. rot 
by a boxer but by a wrestler. He found him- 
self caught in a hold from which he could not 
wrench free and he felt himself being Lome 
slowly but surely back toward the brink of the 
precipice. 

Larry believed the time had come. He had 
had just the hold he wished. The little man 
was coming back, his knife ready. A twi-t. 
a wrench, a thrust, and the big man would 
totter over the edge. 

Hut as Larry put his plan into execution 
one foot slipped on some loose gravel and he 
found both himself and his opponent swaying 
at the very brink. Then a piece of rock gave 
way and they both dropped. 

Distinctively each man loosened his grip and 
flung out his arms. The crook's scraped the 
edge and he dropped out of sight. Larry's 



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eager 6ngen found a crevice and he hung on. 

iii> iir>t glance was at the oldex man but 

he had already turned and was hurrying back 

1 lu- trail. Evidently be had believed 

both men were doomed. 

Only the >kill acquired through lonn hours 

on the horizontal liars and on the headless 

iteed <>t the gymnasium enabled Larry to lilt 

him elf from his perilous position. He did it. 
Carefully but quickly, and once on his feet 
he glanced upstream. Marguerite htill stood 

beside the canoe and she was staring up at 
him. 
Hut even as Larry looked he saw her glance 

away antl draw back toward the river as if in 
sudden fear. 

And Man^uerite was afraid. Running 
toward her, his face contorted by passion, was 
her father. 

" You damned snake!" he cried furiously. 
"You fixed it, eh? Fixed it so we wouldn't be 
followed. Gave the wop a phony story, did 
you? Didn't want to be followed. Well, 
you've queered my game. Thank God you're 
no daughter of mine. I'd hate to be the father 
of a stool pigeon." 

"Not your daughter!" Marguerite cried. 

"No, not mine, and you'll not be anyone's 
in a minute," he snarled. "I'll fix you! 
You'll never play a trick like that again." 

He lunged forward, his face a horrible 
symbolization of his murderous passion, and, 
grasping her by the shoulders, thrust her back. 
Her knees touched the gunwale and she was 
forced down into .he canoe, her head striking 
a thwart with a crash. 

"T^HE girl was dazed by the blow and before 
*■ she could raise herself the man lifted the 
bow and shoved the craft far out into the 
stream. The greedy current caught it and 
whirled it into the rapids. 

I^arry had not waited for this to happen. 
When he saw the man advance threateningly 
toward Marguerite he started to run. But he 
was still fifty yards away when he saw the 
canoe sent out into the stream, carrying the 
girl straight toward the Wolf-jaw. 

For a moment he stood there, stunned by 
the horror of it. He could not force himself 
to follow the dancing, tossing, rushing course 
of the little craft and its helpless burden. He 
had already given them up as lost. He knew 
that no canoe, unguided, could pass through 
the rapids or escape the falls. 

And Larry knew that meant the end of 
Marguerite, the end of the glorious voice, of 
the girl he had found in the wilderness and 
who had so suddenly and so strangely taken 
hold of his heart. 

In that instant he realized what she meant 
to him, what had prompted his interference 
in an affair that clearly did not concern him, 
what had driven him to the pursuit and the 
battle on the ledge. In the very moment 
when she was being whirled to her death he 
knew for the first time what love was. 

Sickened, beaten, he shut his eyes and turned 
away. All the strength went out of him and 
he swayed there on the steep trail. 

And then suddenly his eyes snapped open. 
He had heard the scrape of a boot on a rock 
and saw Marguerite's murderer coming toward 
him. 

The man's passion was gone. He was again 
the cold, calculating criminal, more cold and 
more calculating now because he was bent on 
escape from his latest crime. Behind him was 
the river, before him the steep cliff. The only 
way out lay along the path on which Larry 
was standing. 

But Larry did not wait for him to come. 
His strength returned in a flood. Hate and 
fury engulfed him and with a hoarse, animal- 
like cry he sprang down the trail. 

The man waited, his knife ready, but Larry 
sent it spinning with a blow, grasped the 
fellow about the waist and rushed him on 
down to the water's edge. 

The crook fought desperately but without 
avail. Larry forced him out onto a huge, flat 
rock that thrust far out into the current and 



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narrowed the stream in the first turbulent 
streti h of the Wolf-jaw. 

And there in a last burst of maniacal fury 
he hurled the man down, grasped him by hk 
clothes, lifted him above his head and hurled 
him out into the snarling, crashing, boulder- 
cluttered river. 

1 li-. victim's back struck a great, jagged piece 
of granite and he hung there for a moment, bis 
face white with agon}-. Then the hungry 
lingers of the rapids plucked him off and car- 
ried him from sight. 

f END or PART THREE ] 



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The Tiger Queen 

[ CONTINUED FROM PAGE 45 | 



and 



cled extensively, enjoying all the famou 
beautiful spots of the world. 

Then she married and retired to the gorgeous 
palace in the British West Indies, where she 
lived a life filled with teas, polo, dancing, house 
parties, dinners, midnight picnics, tennis and 
cards. Sleek servants anticipated her even- 
wish. An absolutely unlimited bank account 
was at her disposal. Every meal was a ban- 
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Society flocked to her feet. Trips to the great 
capitals of Europe broke the monotony. 

And she forsook all this to start at the very 
bottom and become a screen star. Refusing to 
accept an allowance from her husband, her 
father-in-law or her own father, she came to 
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the streets looking for work and begged inter- 
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Photoplay Magazini Admhumm. Sinms 
Why I Have Never Married By Bebe Daniels 

| ton iimi i» n;o\i P vi.i ;o J 



[19 



woman is being wrested from them If the wife 
neglect* her home for social duties, >till she is 
subordinate to him. It i> as hi-, wife thai she 
show s her beautiful clothes, wear-- hei beautiful 

jewels. If she is in business, their work ami 

achievement is at least fifty fifty. Thej 

only equal. But in our profession, if the wife is 
■ SUC1 ess, it is her name that is known, her f.u e 
that attraets attention They have to battle 
the problem not only of money, of time, but 

of that popularity. 

It seems to me that it will take a rather tine 
man to lie just " Hebe Daniels' husband " with- 
out suffering from an inferiority complex. 
He'll have to have a real sense of what is worth 
while, have to have a keen sense oi humor to 
realize that the world's sense of value isn't 
necessarily true. And I should hate a man who 
had an inferiority eomplex. If the man is 
equally well known and successful, there is no 
mutual consideration. Nearly always, they 
feel they must tight for their own work and 
each try to subjugate the other. Professional 
jealousy can be as intense between a husband 
and wife as between any other two people. I 
know several cases of it in Hollywood. 

I HAVE contemplated marriage several times. 
I have been on the very verge of it. Each 
time something has happened to make me 
change my mind. I couldn't get the consent 
of both my heart and my judgment. 

I remember one man who thought he wanted 
to marry me and had almost convinced me that 
I might want to marry him. One evening we 
dineil with friends in Beverly Hills. The 
husband was a wealthy producer, the wife a 
famous star and beauty. We had a charming 
evening., they seemed exceptionally happy, and, 
as we drove away, I envied them and wondered 
if I weren't missing a great deal by my caution. 

Just then the man I was with turned to me 
and said: " Did you notice that all the servants 
called her Miss So and So? You can bet my 
wife would be called Mrs. So and So, or there'd 
be the deuce to pay" 

Just that one little incident showed me what 
his attitude would be toward my work and my 
position, and when he mentioned marriage 
again, I was kind but firm. 

Balzac says somewhere: "It is necessary to 
be almost a genius to be a good husband." If 
that's true of ordinary cases, how doubly true 
it must be where a wife is subject night and day 
to the calls of the firm she works for, when a 
director can keep her out all night working, 
every night in the week, when she can't get 
home to dinner before nine o'clock and must 
leave at six-thirty for location, when she may 
go off to Alaska or Arizona or Honolulu for 
weeks at a time to make a picture. 

One young man who had rashly asked me to 
marry him came on the set one day to watch 
me work. He was really a dear — awfully hand- 



some anil 1 liked him ami my mother awfully 
approved of him and his position in life. \v > ■! 
talked over my theories about the difficulty of 
an .11 tist having a sua essful marriage, and he'd 
agreed to all I said so sweetly that 1 believed 
him. On this particular day we were making a 
love Sequence. The man playing opposite DM 

was an old Friend, a splendid chap ami utterly 

devoted to his wile and baby. The -lene u.is 
delii.ite and we had some (rouble with it 

Over and over we had to go through tin 

sionate embrace and, of i'oui-c, we wete 1 1 J 
ing to make it real, at least to the onlooker. 
When the directoi t ailed For it again, aboul the 
tenth time, I saw mv friend straightway walk 
oil the set. 

When I found him later behind some scenery, 
the green eyed monster stared at me with 
malignant hatred. And though he apologized 
later, I knew that jealousy was the one thing 
that could not inhabit my home. A woman in 
my position must have the trust and faith of 
her husband or she is lost. 

One evening a young man and I stood on a 
corner of Broadway in Los Angeles. We 
weren't engaged — we just had a sort of under- 
standing. Down the street three blocks was a 
picture of mine that I had never seen run 
before an audience. I was anxious to get their 
reaction to my work. Up the street five blocks 
was a picture of his that was going very big. 
I wanted to see my own picture, for the sake of 
my work; he wanted to see his. It didn't 
matter — we saw them both. But for that brief 
moment I felt the pull. 

Perhaps I take my work a great deal more 
seriously than most people. I work very hard, 
I am absorbed in my work, I strive every 
moment in every picture to improve and to 
give my best. That isn't a pose. Anyone who 
knows me or has ever worked with me I am 
sure will tell you that. 

ONE day I heard the mother-in-law of a 
famous scenario writer reading the list of 
guests at a very exclusive opening. The 
daughter-in-law's name was mentioned, and 
she said in a sneering tone: "I don't suppose 
my son was there. I see his name isn't men- 
tioned." Now her son was a fine chap, an 
excellent business man and an important 
person in his line. But — his name didn't mean 
anything to the public. Yet that mother-in- 
law would make the girl's life miserable for 
days because her name was mentioned and his 
wasn't. 

Oh, well, I'm still many years under fifty and 
not yet ready for the Old Ladies' Home, and I 
do hope to find a man who has the kind of 
views on life that will give us a possibility of 
success and happiness. I guess I can afford to 
wait, because, when I am once married, I 
expect to stay married forever. That's the idea 
I'm starting with. 



Why I Have Never Married — By Richard Dix 



[ CONTINUED FROM PAGE 3 1 ] 



I loved a woman very madly, in that period 
of my life. But — shall I confess it? — she was 
already married. Her husband was an old 
man — a white-haired, apple-cheeked old man. 
A millionaire. I don't think I ever knew just 
how it came about that she was married to him 
or whether she ever told me. But I seem to 
have in the back of my mind a deep and pa- 
thetic story connected with that strange mar- 
riage. For she was very young — very young 
and ripe for living and full of beauties and 
graces that belonged to love. 

Probably, if she had been free, I should have 
married her. But — fortunately or unfortu- 
ately — she wasn't. I saw her last year when I 
was in New York. Her husband is still alive, 
though he must be very, very old. And the 
blight of age seemed to have fallen upon her, 



too, a curtain of age, of old thinking, old living. 
Her face was as fair and as smooth as when it 
had been the center of my dreams, but — the 
youth had died. 

And so that woman carried me through the 
dangerous stage of curiosity about women. She 
was so fascinating — so utterly lovely. I seemed 
always just about to solve the mystery of her 
eyes and her lips and to find out whether her 
hair was really golden, or copper, or palely 
bronze. I never did find out. 

From that thrilling and adventurous stage, 
men emerge seeking understanding and sym- 
pathy. Life has become more serious. There 
are a good many years to be loved out as well as 
lived out, and one has taken the measure of a 
year. When a man gets to that place in life — 
and I am there now — he wants to wait and find 




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the woman who fits his Ideal. He will not be 
hurried into the passionate adventure. He is 
willing, like a connoisseur, to await perfection. 

I have an ideal. Every man has, if he will 
only admit it. I don't care whether she is 
blonde or brunette, short or tall. Hut she must 
lie a companion. If she only has a sense of 
humor— the enduring love is the love that 
laughs — love with a funny bone — everything 
else can be leavened. My ideal would be 
one who, knowing all my faults, still had it in 
her heart to love me, and to be proud of me and 
be happy that she married me. 

And I am not sure I have the courage to a>k 
any woman to meet this ideal. Why should 
she? I have always been afraid I couldn't 
repay her for the endless sacrifice, the patience, 
the inspiration and affection, the constant 
round of devotion and love that I hope she will 
give me. What would she find in me to make 
worth while the fitting of her life to mine, the 
molding of her happiness to bring me happi- 
ness? 

I have awfully old-fashioned ideas about 
marriage. That's the trouble with me. I 
admire the modern girl and the modern woman 
tremendously. I look up to her and appreciate 
all she has done for humanity and all she has 
done to improve herself. But — I can't always 
reconcile her with my idea of marriage. 

ONCE marriage was woman's only business. 
Now it's a side line. I don't blame women. 
Probably, as a business, they didn't find it 
worth while. It didn't pay high enough 
dividends on the capital of devotion and labor 
and self-immolation they put into it. At the 
same time, I can hardly think of facing marriage 
with a woman to whom it would be a side Line. 
The old Adam is too strong in me. I want to be 
proud of my wife because she is a good mother, 



a I eautiful woman, a charming ho.-tes- — all the 
things that belong to her role as a wife. 

Another point: I have not been forced to 
marry for those material comfort:- that so often 
lure a man. I've never stood outside and 
envied some other fellow a nice, comfortable 
home, with the woman touch apparent in it. 
I've always had a good home — and sometimes 
I believe that robs a man of the initiative to go 
out and begin his own home, as he should I 
1 lelieve many men marry because of their long- 
ing for the care and comfort that their mothers 
used to give them. 

Then. I've never been in a financial condition 
to marry, to give a girl the things she should 
have. There are lots of fellows, like myself, 
who don't like to ask a woman to share poverty 
and r-truggles and the uphill fight for success. 
Sometimes I think we are all wrong — that it's a 
woman's right and privilege to go through 
those days. That nothing can bind a man and 
woman closer. But I couldn't see it. or. at 
lea>t, I have never found the right woman. I 
had a large family to support from my earliest 
working days. Four of us lived in New York 
on my first salary of $25 a week. Then my 
brother passed on and hi* wife and family 
needed assistance. Things have broken that 
way for me. 

And yet now — I do want to marry. No 
man's life can be complete without a wife and, 
particularly, without children. They say the 
father complex is not active in most men. 1 ut I 
believe it is in me. If I don't marry. I'll adopt 
some. But maybe the reason I've been waiting 
and hoping to find my Ideal, why I haven't 
been ashamed to wait even though I felt very 
humble myself — maybe the reason is that I've 
looked upon my wife as the woman my children 
would some day call mother — and that's a very 
important thing. 



Just an Old One-Reeler 

[ COXTIXUTD FROM PAGE 78 ] 



The speaker's strange sincerity and stranger 
manner obviously intrigued the interest of the 
director who was not listening Intently. 

"My partner." the old exhibitor began 
again, "she was my wife. I laid her away last 
month and I placed by her side, — but I'm 
getting ahead of my story. . . . 

"You'll have to pardon me if I wander a lit. 
I rehearsed this story to tell you many time- 
but now that I'm here my mind is in a jumble. 

"I want to take you back to a Christmas 
Eve, away back in the days of the one-reelers. 
My partner an'd I had been struggling hard 
as we all had to do in those days. I had had a 
harness store and when the pictures started to 
come along Rhoda and me decided to have the 
front knocked out and we started a pictu re 
show. 

"I ran the machine and she took tickets 
until the people were in and then she played 
the piano — and she played beautifully, too. 
Pretty soon our baby came but he did not 
stay long. We were broken-hearted. Then 
came that Christmas Eve, a Saturday night, 
we were running a picture of yours, 'Wander- 
ing Home' — you probably don't remember it. 
but God Bless you for making that picture! 
Tt was the Ftory of a couple like ourselves who 
had lost their baby. We both saw the picture 
during the show and after the picture Rhoda 
tame to me and said, 'Daddy, let'- run that 
film again, after tin' people go.' We did run 
it. she ami T sitting there with old Bob, who 
helped u- clean up. grinding the machine. 
I bind in hand we -at there and cried anil cried 
but afterwards there was a smile through our 
tears. That scene "here a title savs. 'And 



a Little baby reunited them' — oh! you must 
re mem I er it — 

"Well, we ne\er sent that fillum back. We 
wrote the exchange and bought the copy. 
And many, many times Rhoda and me would 
run that picture after the people had gone.and 
we would sit there hand in hand, learning from 
that picture that in just a little while we would 
both be reunited with our little fellow. Some- 
times we quarreled, just as all married people 
do. Then night would come and we'd run 
that picture and time after time it would 
lighten our sorrowing hearts, bringing us 
closer together. 

"That's about all there's to it. only I con^e 
here because I promised her I would some day 
tell you what that little picture meant to us. 
It was just one of those old one-reelers. but it 
made the difference between de-pondeney and 
hope for Rhoda and me." 

The old man sank into the divan, sobbing 
softly. The Master seemed transfixed, his 
hands clenched before him and his eyes peer- 
ing steadily into the fire. 

"Do-T-remember-that-old-one-reeler. . . " 
the director was speaking slowly and evenly 
as if to rea— ure himself. "Why, that night, 
all alone in the projection room, do T remember 
it. my God! . . ." 

finally -landing up. the director went to the 
old man. placed his arm tenderly al out his 
shoulder and together they walked out into 
the steely moonlight of California. 

Following at a respectful distance I heard 
the Master call to Ids secretary. 

"Tell Regan to send over that new c.on- 
tinuitv. We'll -tart shooting Monday." 



Mary Pickford's Opinions on Stars and Films 

Wilt be found on Pages 28-20, this issue 



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lie laid In t . hin u|> in hi- hand -o that she 

I to look at him. 

I'he tears in hex eyes brimmed ovei and ran 
down her cheeks. She seemed a verj -mall, 
disappointed > hild. 

"You wouldn't want me to go away feeling 
like that, would you, Katie? he demanded 

again. 

■■ \o." -In- replied gulping. "1 guess] was 
hoping that, maybe, you'd find it so hard to 
Bay good bye that you would take me along 
with you just for a few days and and 

Her lip- quivered and -he couldn't say any 
more. Neither could Dirk. 

Hi- picked her up- -she was pretty heavy at 
that and carried her to her room 

Then ho kissed her closed eyelids. 

"Good-bye," he whispered. "Good-bye, 

Katie." Hut she -aid nothing at all. 

Still, she didn't cry till he had closed the 
diHir softly after himself, thinking, like the 
masculine boob that he was, that -he had 
probably fallen asleep. 

Ill 

Till", lonely people are the ones who stay at 
home, not the farers forth. A tooth doesn't 
know anything about pain; it's the jaw from 
which it has been extracted that sutlers. 

So. if Diek's departure was the eause of 
sorrow he himself did not experience anything 
but a sort of pleasurable regret. Youth, that 
he had never had, came back to him in tidal 
surges. 

The l.os Angeles Limited roaring across the 
United States in pursuit of the setting sun 
left years and years of unlovely bondage be- 
hind. Dick forgot the office stool, the black 
and red figures, the monotonous fare and the 
dingy splendor of the boarding house. What 
doe- a butterfly remember of its cocoon? He 
took to the trappings of adventure as if he 
had never known contact with the practical 
world of commerce. Perhaps that was be- 
cause in his heart he had always lived above 
the timber line. 

Contrary to the custom the Limited had one 
pretty girl on board. That is something which 
should be provided by the railroad companies 
on all of their transcontinental trains. It is 
very disappointing to the traveling public, 
especially masculine, to find that it is doomed 
to three days with no scenery to look at except 
out the windows. Men get sloppy, mentally, 
morally and physically unless there is poten- 
tial beauty to keep them ke\-ed up. Having 
a personable female on board increases the 
business of the barber, manicurist and tailor 
two hundred per centum. It very seldom 
happens. But it could be very easily remedied. 
A girl out of the "Follies'' could be hired for 
around a hundred per week and expenses. 
During that time she could make a round trip 
and have one day off to visit her own hus- 
band. And think of the increase in travel on 
that particular line! 

The young woman on Dick's train was an 
animated ball of Huff. There were kinks in 
her hair and springs in her behavior. The 
color of the hair was what is known as cha- 
taine, which is a kind of a blondish brunette 
with a lot of lights in its, and the hue of her 
behavior would have been violent red if she 
had not been so darn cute about it. You've 
got to be very young, very pretty and very 
several other things in order to get away with 
eyes that grin at everybody they look at from 
babies to bishops. 

She was small and, during the daytime, went 
in for sort of rowdy clothes — sport skirts and 
sweathers, heather stockings and all that sort 
of thing. Then at dinner she would blossom 
fourth in a traily frock that, remembering 
how she had looked an hour before, made you 
think that she had pinched it out of her 
mother's wardrobe. At all times she was 
exquisitely dainty and freshly scrubbed look- 
ing. It was as if -he had accepted a divine 



commission alwaj to be restful to thi 
and carried it out even undei the most trying 
circumstances You had a feeling that he 
would appeal at a tire or an earthquake clad 
in exactly the Hiiro t costume loi that M>rl 
of a 1 1 1 iii lion. And looking top hole in it, loo. 
In other wold-, Dial tlj the kind of a 

gal that . .in be used tor bait lor btook i a -ting 
or deep -ea trolling, lor all \ arielie- ot BUUM U 

line fish from shinei to perm whales, the 

kind of gal who make- lite hea\ en lor men and 
hell for other women 
Which -he knew, ol .oh 

And profited by. 

She was accompanied, in perpetual total 

eclipse, by a well dressed young man with a 
weak but waxed moustache which, despite his 

fondest hopes, did not make him look foreign 
a bit. lie was very slim and willowy, prob- 
ably a good dancer and certainly a polished 
conversationalist. By the time the train was 
Hearing the Rockies he had spoken to nearly 

everyone in it. In that way he eventually 
arrived at Dick Lord. 

Dick was so much of a tyro at the "mixing" 
game that he was very grateful for the ad- 
vances which young Mr. Luther — Robert 
Luther, he said hi- name was — made. 

And Dick was the tir-t train-made acquain- 
tance whom but her introduced to "the girl." 
It had been very noticeable that, before that, 
although he was very genial himself, he did 
not pass on his pick-ups. 

"Mr. Lord, I should like to present you to 
my — er — si-ter. Millicent. this is Mr. Lord 
about whom I was telling you — the gentleman 
who is going to become one of the literary 
lights of screendom." 

Dick interrupted with a blushing denial, 
mentally kicking himself for having told this 
young man his secret ambition. 

"But you're bound to succeed,'' Luther 
denied, "because you are going at it the right 
way. Not one man in a million has the chance 
that \ r ou are going to have of studying the 
motion picture business from the inside." 

After a few moments devoted to similar 
conversational bull Luther went to sit in a 
poker game in the club car, leaving Dick in 
the heaven of his sister's companionship. 

HK thought that, with his limited social ex 
perience, it was going to be a painful pleas 
ure, but he was mistaken. Miss Luther put him 
at ease at once some way, made him an unself- 
conscious team-mate in the game she seemed 
to be playing with life and before half an hour 
was over he was her devoted slave. 

Dick had never known a strictly ornamental 
woman before, a carefully cultivated and 
exotic flower, whose only purpose was to grace 
a few of the higher moments of civilization and 
then pass into history or oblivion as the case 
might be. He had to revise all of his pre- 
viously conceived notions. Here at last was 
the real reason for woman's existence — to be 
the beautiful clown companion of man's 
leisure moment-. 

For Millie Luther was funny. She had not 
needed that as an added attraction, but she 
was anyway, and the genuine humor of her 
conversational viewpoint only made her a 
few hundred degrees more compelling than 
if you could merely^ see her. She was just 
twice as interesting as she looked — that was 
all. Not that it made much difference. Men 
who have sat on electric settees say the first 
2,000 volts are the most noticeable. Above 
that it doesn't make much difference. 

Millie could have convinced Dick of any- 
thing. For instance, lie had always previously 
abhorred the idea of make-up on a woman. 
Millie constantly consulted her vanity case 
mirror and added a touch here and there, 
especially on her scarlet little lips, and Dick 
liked it. And she did things to her eyebrows 
and eyelashes that he would not have approved 
of at all in prehistoric days but which now 




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I seemed quite the proper caper. Part of this 

was due to the way she looked out of the eyes 

underneath aforesaid brows and lashes, a sort 

[of a hurt-dog look that said, "You wouldn't 

strike me again if I'll lick your hand, would 

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■ censored by the Society for the Suppression of 

Cruelty to Mush-heads. Some women could 

i spring that look on a man immediately after 

(announcing "I have just killed your mother 

J because she wore that hat again," and he'd 

take her in his arms and kiss the tears away. 

And probably buy her a diamond ring to make 

her forget the unpleasantness. 

"I'm a would-be motion picture actress," 
I she confided during their second conversation, 
which occurred shortly after they had all three 
had dinner together. "I'm not telling most 
people about my ambitions until I find out 
if I succeed or not, but as you are practically 
in the same boat I feel as if it were all right." 
And then she chattered on: 
"I've had a little experience — just walked on 
in one or two of my brother's productions and 
Robert is going to produce a feature with me in 
it very soon now, just a little program picture 
that won't cost much, merely to try me out 
before audiences." Then as an afterthought. 
"Wouldn't it be wonderful if we could make a 
hit at the same time? " 

Dick's heart jumped. Wouldn't it be 
wonderful to do anything at the same time 
with her? 

"Can't you see it?" she continued. "'Milli- 
cent Luther in "Should a Woman Inhale?" 
by Richard Lord.' Sounds good, doesn't it?" 
That was all she said at that time. Later, 
at another meal she said to Robert: "Before 
we start shooting on my picture would you 
consider looking over some of Mr. Lord's 
scripts and see if there is anything that would 
fit me?" 

Robert considered. "I wouldn't mind but 
I'm not in favor of the idea. Not," he has- 
tened to add, "because I don't believe that 
Mr. Lord can write but because with an un- 
tried star like yourself we've got to take 
every precaution — the story has to be actor- 
proof. Do you see? Besides it would be more 
difficult to get the money to finance the work 
of an unknown writer. It will be hard enough 
to put you over with the hard boiled bankers 
even if you melt 'em with your oxy-acetylene 
eyes, but two unknowns would be impossible, 
I'm afraid. After you're established then we 
would bring in Mr. Lord on a later picture." 
" He'll be established then, too, and probably 
we couldn't even afford to hire him. Say 
you'll look at his stories anyway. You don't 
need to do anything but just look." 

"All right, I'll look," the brother conceded. 

IV 
THICK'S entrance into California was cer- 
-*-Aainly made under wonderful auspices. 
Any country would be marvellous when per- 
sonally presented by Millicent Luther, but the 
Pacific slope is especially a girl and man para- 
disc. It is youthful against a background of 
somnolent, age-old romance. The indulgent 
hills give the heart a funny tug that is re- 
newed every time one looks up at them un- 
expectedly, the sea talks a great deal in its 
sleep about things that might happen but 
never have yet — at least to mortals — and the 
pagan sun forgives much that he would frown 
upon in climates where he has been converted 
to cold Puritanism. 

Millicent showed him everything with a 
proprietary air. 

"See that mountain — it's my mountain, but 
I'll let you look at it for a minute. Look at 
the mountain, not at me." 

"I'm afraid I'll miss some of you." 

"No danger. I'm only one trillionth as big 
as that pile of rock over there." 

"And ten trillion times as interesting and 
changeable." 

"Careful, young man. you're dealing in 
pretty high figures. Look out or you'll over- 
draw your account." 

She never let him get any nearer to love- 



making than that. Sometimes, just for the 
fraction of a second, she would give him little 
flashes of intimacy that were like glimpses of 
paradise seen through an instantaneous shut- 
ter. Then she'd scurry back behind her de- 
fenses and there he'd be, a charmed slave 
waiting out-ide the walls. 

He was quite too infatuated to accuse her 
of being a "teaser," a soloist playing a rhap- 
sody on his emotions simply for the pleasure 
of demonstrating her own skill. To him her 
retreat from his occasionally aroused im- 
petuosity was only a charming shyness, a more 
alluring naivete. Besides, Dick had no great 
confidence in his own candle-power. Even 
Katie's astonishing behavior had not increased 
his self-esteem. Anyway he had almost for- 
gotten Katie now. At least she was back in 
the sub-conscious hinterland where it would 
take considerable cataclysm to jar her out. 

Millie had a car, all nickel where it wasn't 
red, with just one seat in it. It was a magic 
carpet upon which they were transported 
from one pleasure to another. 

For some reason or other she was loath to 
visit the studios even though she knew that 
Dick was interested in them, and that their 
technique was what he had come west to 
study. 

"There'll be plenty of time for that when 
you're working. For your holiday let's keep 
away from Liar's Lane." She indicated the 
boulevard with the big frame barn-like struc- 
tures on either side of it. "They'll break your 
heart there with their lies — lies that will seem 
so nearly true that you'll pin your faith to 
them and when you look around behind their 
brown stone fronts to find nothing but flimsy 
scaffolding to hold them up it will make you 
feel as if you had stepped over a precipice in 
the dark. Even the men and women are 
merely hollow Benda masks. Take off the 
lovely exteriors and you will find only in- 
credibly hideous nothingness." And then she 
concluded in an abrupt change of mood. 

"I hate to let you step into Liar's Lane as 
you are. It will hurt. Isn't there some way 
you can get hard boiled before you do it? " 

Millicent's wish was law to Dick, so he kept 
away from the cameras. That wasn't very 
difficult so long as she was willing to supply 
a counter attraction herself. Mr. Luther 
could not ordinarily go with them — he was 
busy always with bankers or somebody 
materialistic like that. 

He brought them bad news about Dick's 
script. "They won't finance it," he said. "It's 
a good story, they admit that, and they are 
influenced to a certain extent by the fact that 
we both want to do it, but they're tough babies 
when it comes to laying down the cash. I'll 
have to dig up another story." 

" But I don't want some other story. I want 
to act in Dick's." 

"Humph!" Robert conveyed subtly that 
he understood how the land lay, but that this 
was a commercial affair and had nothing 
whatever to do with the love affairs of a wilful 
woman. 

"Couldn't we get someone else to back us," 
she suggested, "just for this one production? 
You said it wouldn't cost much." 

"It could be made for somewhere around 
forty or fifty thousand dollars, I guess — 
especially if we didn't pay you much of any 
salary." 

"I'd work for nothing in Dick's picture." 
After an offer like that what could Dick do? 
The Lord-Luther Corporation was organized 
before the end of the week and space in a 
studio was leased for the first production. 



Till: RE seemed to be an awful lot of delay 
about getting started — and a lot of ex- 
penses, too. Almost all of Dick's capital was 
in the company before a crank was turned — 
requisitioned from him for this and that. Xo 
one but himself knew how very little there 
was left It wasn't necessary to tell yet any- 
way and the money would begin rolling back 
the other way, towards himself — as soon as 



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the first bookings began to pay In. It was 

to prove that, in three months, a produ< 
lion would paj for itself and that .ill the re t 
would be \ elvet 

Dick wrote and revised I » i — own continuity 
in accordant e « itli the e omposjte ail\ k e ol .ill 
the correspondence courses in -iript writii 
which he bad evei taken Unless the lessons 
were all wrong the scenario was practical!) 
flawless from a technical point of view Ever) 
action was motivated correctly, the scenes 
followed logically and the charactei behaved 
consistentl) 

Work began desultorily. Luther, himself, 
did thediret ting and he chose to "shoot" firsl .1 
ol tin' simple little scenes that required 
negligible sets and few actors I he I 1. 
and the rest of the cast would be on the lot 
in a few days, he promised. 

But to be at work at -ill was hea> en to 1 > i«. k 
The bare, vaulted stages « ith the elet trit ian's 
scaffoldings overlooking the sets, the batteries 
of lights surrounding the scenes, the clutter ol 
paraphernalia, the tangled cables, all were the 
properties of hi- long desired fairyland. He 
(eared almost to touch anything lest the entire 
laiirii should vanish. 

IT was a supremely happy culmination ^\ 
Dick's desires. He felt that he belonged in the 
atmosphere of the studios. Everything fas 
dnated him, thrilled him, even after he had 
become familiar with it- workings. He would 
never grow tired of making stories in tins 
plastic medium, he had found the niche in 
which he could contentedly spend the res! of 
his life. 

That happiness in his work coupled with 
the fact that it insured practically constant 
companionship with the most fascinating girl 
he had ever seen was an ideal -ort for the 
growth of Dick's personality, lie expanded 
and shed hi- old shyness. Everybody liked 
him. 

For instance Krogstead, the old cameraman. 
By old i- not meant that he was more than 
forty-five or so, but that i- quite aged in the 
cinema industry where nearly everyone is 
young. 

Krogstead had ground out him since Bio- 
graph days. He was not one of the best 
cameramen in the business hut he was oik 
of the most experienced. On fhe big new 
productions in the high class studios he was 
passed by in favor of young men who carried 
their moonshine better or laid off of the stuff 
entirely. But, when sober, Krogstead was a 
valuable man on any lot and he knew all the 
traditions of the game. 

Once or twice when he war- folding up his 
traps after a day's shooting Dick stopped to 
talk with him. 

"We accomplished quite a lot today, Krog," 
Dick said. 

"We've got a good deal of film in the can, 
if that's what you mean." Kxogstead admitted 
noncommittal!}. 

That wasn't exactly what Dick had meant 
and when Krogstead made the same -oil of 
reply the next time he asked him to explain. 

It happened that just at the moment Krog 
-lead was not particularly sober so he told 
the truth as he saw it. forgetting to obey the 
whispered order which had gone forth to 
every employee on the lot. 

"This thing we're shooting ain't a film 
story — it's just a lot of scenes, no good by 
themselves and a lot worse when they're strung 
together." 

That was quite a blow to a young man who 
was beginning to see himself as an arrived 
genius, who knew that he had spent every- 
thing on his education but was confident that 
the investment was now about to be justified. 
Of course he did not necessarily have to believe 
the drunken Krogstead. but Dick was a sensi- 
tive soul and the criticism got under the hide. 

He had the courage to ask what specifically 
was the matter with the story. 

"It's all right technically — that- a hard 
word 'technically,'" Krog admitted, stopping 
tj take a little nip from one of the laboratory 






te t tube of which h< carried a dozen in hit 
\. 1 poi ki i "but tbere'i nothing human 
about it. \ mii c ant vs 1 it i- .1 tor) \ 1 1 be< au e 
nothing ever) happened to you V on know 
how t,. u e words, but ''ot til aftei you've 
broken youi heart, I'hen you can make other 
people 1 ui: ii .n,,i cr) w ith youi 1 harai let 
V'oui people .iin 1 real, there ain't any more 

heart in 'em than there i- in that little painted 
doll » ho pla) ill:' the lead 

"Krog!' I >i. k stopped him with ominous 
1 aim "Sa) .1- much at you like about m\ 
•Inn but kiep youi drunken lip- off from the 
uther " 

Krogstead started to laugh but sputt 

through with, "That" a belter line than nio-t 

oi your -id' titles aid very sim'lar, nn 
ven im'lar Don't spring an) more funny 
stuff til I get through laughing at that one." 
Dick was sudden!) red in.nl and he struck 
him that old man, drunk and unsteady. He 
was instantly ashamed ami helped him to hi 

feel "I'm -orry, Krog," he apologized. 

"S'all right." Krog pardoned, "Sail 
right." 

He Felt hastily of the test tube- that adorned 
his bosom like Cossack ammunition. "Didn't 
break a one. That's why I don't carry a lla-k 
on the hip. When somebody knock! me down 

1 always land on my back. Almost never fall 
on my chest. Safest plac< — " 

lie wa- -till talking when Dick walked away 
from him. Dick was ashamed of himself, but 
he might have si ruck him again if he had 
waited to hear nioie 

Krog- criticism of hi- work hurt, of course, 
but he could not believe that the old camera- 
man w a- a competent judge. Surely he couldn't 
I e, and be -o far wrong in his estimate of 

Millie. 

She wa- wailing for him outside the studio 
gate in her little red wagon, her little red lips 
smiling an anticipatory welcome and her 
great liquid eyes pleading with him always to 
be kind to her. One look out of those eye- 
-wept away all the mud which Krog had left 
behind when he trod in Dick's temple. All 
was well with the world. 

In a flash almost they were on a mountain- 
top. Millie usually took him home by some 
-1 enii route. 

"How's that?" she demanded with the 
flourish of a showman. "That ocean way over 
there i- my private swimming pool and this 
beautiful lady below us just putting on her 
flashing diamond necklace is La Belle Holly- 
wood. The string of beads is Liar's Lane." 
She leaned her cheek against his rough coat. 
That made her quite close to him but still a 
long ways away. 

Dick wanted her closer but did not dare. 
"Millie. I love you." he whispered not loudly 
enough even -o that he was sure she heard. 
Dick was like that — to make a statement of 
hi- own pitiable condition but to ask no con- 
fession from the cause of Hi- downfall. 

CHI. got the idea anyway, because she twined 
'-'her linger- in his and wrapped herself a little 
more closely around his heart. And he kissed 
her.- She permitted it — just once. 

That was all. but he walked the hill top- 
that night kicking aside the stars and in the 
morning he bought a ring, a rather impressive 
diamond that took the la-t of his capital just 
to make the lir-t payment on. Still one could 
not be prepared with any lesser offering when 
one came to ask a girl of Millie's caliber to 
-hare one- fortunes, lie-ides there would be 
plenty of money soon. 

Hut not -o soon a- there was a demand for it. 
Thatveryday Robert Luther came to him with 
an unexpected studio bill which totalled in the 
neighborhood of five thousand dollar-. 

"I think it's too much myself," Robert ad- 
mitted, "but they've got us where the hair i- 
darn short because we've got to go on here 
now or else lose a lot of money changing over 
to some other lot." 

Dick felt a hard dry lump come in his 
throat. He had put nearly everything he had 
into the company for an expense fund and 



Reduced531bs 
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Mrs. Bayliss 
Went From 191 
Lbs. to 13 8 With- 

out Hardship 

"1 11 1 or dreamed 1 ou 
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Wl otO tins Wi II k noun 

young matron ol Philadcl 

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nothing else did it. \ ou 
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Very sincerely yours, 
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this additional whack between the eyes made 
him stagger. 

"Let me look it over," he suggested weakly 
to his partner. "I may have to wire east for 
money." 

Robert Luther regarded him shrewdly and 
whistled between his teeth. "All right. I 
hope you have a lot of luck because it will be 
darned hard to raise any here." 

Dick knew well that there was no one in 
Davenport to whom he could telegraph for 
funds with any reasonable expectation of 
receiving anything but a "ha! ha!" by wayof 
reply. Still he wanted time to think and 
incidentally to lay the proposition before 
Millie. She knew that he loved her and pre- 
sumably, if anyone could judge by indications, 
she loved him in return. It was only fair to 
have all the cards on the table. It was prac- 
tically a family matter anyway or would be as 
soon as he had completed the ceremony of the 
ring which lay in his pocket. 

So Robert and Dick parted, ostensibly each 
to test his own private financial resources. 

Late that afternoon Dick arrived at Millie's 
bungalow. He had been invited for dinner 
some time back. 

The maid let him in and because he was a 
familiar in that household did not think to 
announce him. 

Bungalow walls are thin. Maybe, even, a 
door had been accidentally left open some- 
where. 

Anyway there were voices, easily distin- 
guishable voices. 

"You are being very careless dressing in 
my bed room this way, Bob," Millie was say- 
ing. " Suppose Dick— " 

"Oh, I forgot to tell you. Dick's all through. 
That game is off. You don't have to pretend 
to be my sister any more and I won't have 
to sneak back here nights after he has gone 
home." 

"What's the matter?" There was con- 
siderable concern in Millie's voice. 

"The cash is gone, that's all. There's no 
more reason for you to waste your talents on 
the desert air. God knows it took long enough 
to get that measly forty-five thousand from 
the boob." 

"We aren't going to finish the picture?" 

"That thing? Don't make me laugh. 
We're going to do a fadeaway in the morn- 
ing." A pause. "Say, what's the idea of the 
tears? You don't really care anything about 
that poor sap, do you? If I thought you did 
I'd take a punch at him just for luck. And, 
as for you, you mind your p's and q's darn 
carefully and don't forget who vou're married 
to." 

There might have been more but Dick had 
heard enough. 

He let himself out without being heard by 
anyone. 

VI 

DICK got back what he had paid on the 
ring. That amount squared up the major 
portion of the debts actually incurred by the 
company. Just as he had expected, the state- 
ments he had received had all been highly 
imaginative inflations of the genuine accounts. 
Robert Luther, of course, did not show up at 
the studio again. 

Completely broke ; Dick faced the unpleasant 
necessity of living or dying respectably. There 
was not much savor in either alternative. 
Living was especially unpleasant for a while 
but he did it. 

Every time he saw two people together. 
ii«ling, driving, dancing, anything at all, even 
if they were not ideally mated as Millie and 
he had been, it made him almost unbearably 
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could still be gayety left in the world that 
denied him his paradise. There was a heavy 
pain in his heart that sometimes almost made 
liim cry out for something to ease it. He 
wanted to elaw the damned hurt thing from 

his breast. 

Even the mountains and the sea were sullen 
barriers to his soul instead of the lure- to 
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Photoplay Magazinb Advertising Section 



129 



that ma because he never -.iw them from the 
Beat of an automobile now. Wherever 1 >i«. k 
.miii be Furnished his own transportation. 
One would not expect the helper 01 .1 second 
assistant property man to arrive at the studio 

via motor. 

l>i>k was mighty lucky to have a job at all. 
\ correspondence w hool degree in scenario 
writing docs not qualify its owner for a really 
lucrative position of any sort on a dm-nu lot. 

I fa had no urge to w i ite any more. The crea 
trve impulse died sickeningly in hi-- unhappy 
breast Ml Ik- did was to work listlessly at 
his appointed tasks and then trawl oft by 
himseli to try to get well. 

1 n\ k became a regular customer of the 
studio bootlegger. That was a pastime which 

eventually absorbed all of his salary and 
finally got him fired from his job and evicted 

from his rooming house on the same das'. 
Being thrown out on the street is not quite 
..U a disaster in Hollywood as it is in 
Herald Square. For one thing there isn't any 
snow and ice to slip and fall on. 

A- a matter of fact Dick scarcely knew that 
anything had happened to him. Not that he 
had very much moonshine under his belt, hut 
what he did have was resting on a food founda- 
tion of nothing at all and it felt very imjiortant 
amid the echoes. 

Krogstead found him in the (figurative) 
gutter that evening, found him and recognized 
the symptoms from having had them so fre- 
quently himself. 

"I'm a reg'lar little ol' St. Bernard dog, I 
am," he assured Dick, uncorking a test tube 
that miraculously had a few drops left in it, 
'"bringing first aid to the lonely traveler lost 
in the Alps. Drink this and come on home." 

Dick drank it all right and then spilled the 
information that he had no home and why. 

"Come home with me, then," Krogstead 
invited. "I got plenty." 

If Dick had been sober he would probably 
have refused the hospitality of the old man 
whom once he had scorned. As it was he had no 
resistance left and he went where he was led. 

Krogstead's home was nearby but hard to 
get at. The way led straight up a steep canyon 
in the side of the hills. 

Noticing the difficulty Dick was having with 
the grade Krogstead admitted, "I don't always 
get clear home myself some nights when I run 
out of gas. Then I sleep wherever I drop until 
the hellish cold wakes me up in the middle of 
the night and I crawl the rest of the way. 
But I got a little liquor left today and we'll 
make it. Here's yours and here's mine." 

The extra kick gave them both enough 
strength to finish the pull. 

Krogstead's home was a building of approxi- 
mately eight foot dimensions each way, for- 
ward, sideways and up. The material from 
which it was constructed was old real-estate 
signs. Thus, one might read over the door,"The 
Best Buy in Hollywood." One entire side wall 
said, "See Mary" and other available space 
inquired "Can You Find a Better Spot For 
a Hotel or Apartment Building?" 

Inside there was a bedspring supported on 
three boxes and a keg. It was sketchily 
covered with burlap bedclothes. The other 
furniture consisted of a box and a carbon 
encrusted kerosene cook stove, two burner. 

"Used to have a still, too," Krogstead 
boasted, "but it took too much time from my 
work. It's cheaper to buy it than to make it 
anyway. Safer, too." 

Krogstead had a little bacon and some 
coffee. He cooked it and divided that and the 
rest of his moonshine with Dick. They went 
to bed in a blissfully unconscious condition. 
One of them slept on the floor, but neither 
knew which one. 

vn 

DICK was tremendously touched by the 
Samaritanlike behavior of the man he had 
once knocked down for telling him the truth 
and in the morning he tried, unsteadily, to 
express his gratitude. 

His host received the thanks quizzically. 



Krog ii ad, easoned toper that be 

little the WOI t loi we.u. I >i. • , was 

a pitiable wreck 

"Moon nine i rOttOU Itufi to learn to 

drink on," Krogstead mused out loud. "I 

old lellous (hal got urn in-ides mellowed b) 
white man's liquor i.in stand thil c-eiiie ol 

red peppei thej sell you behind dosed doors 
but it certain]) i- criminal to put it Into an 

amateur stom.u h." 

Dick laughed, not very convincingly, "Are 

VOU advising me to lav oil the Stuff, Krog? 
You?" 
"The way you say 'You' kind of hurl 

I didn't know 1 was as low as that." 

Dick was quit It to sense the real shame in the 

older man's tones and he hastened to apolo- 
gize. "You aren't half as low as I am. Dad. 
Good Cod. look at VOU, with a job and a home 

and everything. I haven'1 anything." 

"Except youth and a couple ol thousand 
chances to make something of yourself that 
you're trampling in the mud. Hut I'm not 
going to preach. You better hang around 
here all day and tonight we'll see what we 
can do when I return. I ain't got any liquor 
to leave you but I'll bring you a pick-me-up 
when I come back. You'll be yelling for it by 
that time." 

From the depths of his experience Krogstead 
spoke the truth. Before the day was done 
I lick was down on his knees by the dilapidated 
old bed praying God to bring the old man 
home soon with a shot of hooch. If there had 
been anything salable in Krogstead's shanty 
Dick would have taken it down to the second- 
hand store on Hollywood Boulevard and 
traded it for the price of a drink. But the 
owner of the shack, either by intention or 
necessity, did not possess a single thing that 
was worth lugging a hundred yards. 

Krogstead arrived just before dark. ITe had 
three or four packages under his arms and the 
labor of transporting them up the incline had 
just about ruined the old tanker. He couldn't 
answer questions until his wind returned, so 
Dick opened the packages himself in search of 
the bottle. There was a steak, some potatoes, 
a loaf of bread and half a pound of butter. 
That was all. 

"For God's sake, man, where is it?" 

Krogstead understood and shook his head. 
"There isn't any. I spent our money for 
grub." 

"The hell you say. You drank it all up 
yourself, you mean?" 

"No. I ain't had a drink today. I've been 
thinking — dry." 

Dick was speechless with disappointment. 
Tears stood in his eyes. "Thinking? What 
about? What's the use? " 

"I've been thinking that if what you said 
this morning is true — that I was the only 
person on earth who would give you a helping 
hand — then I'm a pretty poor specimen of a 
man if I don't at least try to help in the right 
direction. I don't know whether you remem- 
ber it or not, butonce or twice you've accident- 
ally called me 'Dad' and it made me kind of 
proud and ashamed. But I made up my mind 
that I wasn't going to bring moonshine to 
anybody that called me that and — " The old 
man stopped, rather at a loss how to go on, and 
looked at his guest for help. There wasn't any. 
"Well, you can take it or leave it." 

Dick was fighting to let his old idea of 
values struggle bark to the foreground of his 
mind now exclusively occupied by thirst. 
Where was his heart, his sense of humor, his 
self-respect, not to applaud and laugh at this 
poor old wreck with a hang-over trying to 
reform him? 

He finally managed it with a sort of a smile, 
not much of a one but a smile none the less. 
"All right, dad, I get you. Let's fry this 
steak." 

They lived together from then on. 

One of them always stayed sober and 
brought the other home when he fell from the 
joint resolution which, after much argument, 
they had made. 




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126 



Photoplay Magazine — Advertising Sect ion 



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Dick really had a shorter distance to go 
back to respectability than had Dad kn, 
and he soon hc-at out of the woods. Having 
the old man to care for and more, having the 
old man to care for him, gave him a hand hold 
by which he slowly dragged himself back to 
respectabilityi 

Hut the cameraman made a sporting 6glit 
of it, too, and it lore him all up whenever he 
lo.-t any ground. 

"Boy,'' he apologized ruefully when became 
in once especially plastered. "I'm an awful 
example to you and I was trying to get to 
where I could be your ideal.'' 

" 'That's all right, dad. You climb right into 
bed and don't forget this time that it's your 
head goes on the pillow." 

Yes, they had pillows and everything. They 
had moved in from the hills to a tiny bunga- 
low south of Santa Monica Boulevard, un- 
fashionable, inexpensive but comfortable. 

By morning Dick had worked out a scheme 
that he thought would prove the old man's 
salvation. He proposed it. 

"Let's make an agreement, dad, never to 
drink by ourselves after this and always to 
drink the same amount, glass for gla.^s." 

"That ain't fair, son. I can hold more 
liquor than you can without showing it." 

"It doesn't make much difference. It's 
the first shot that counts and you know it." 

Dick was taking an advantage but the old 
man didn't realize it until after he had made 
the agreement. The very first time he had to 
have a drink after that and came to Dick to 
tell him about it he weakened when Dick un- 
questioningly poured out a slug and signified 
his intention of joining him. 

"All right," conceded the old man, pouring 
his back in the bottle. "I guess I don't want 
it that bad." 

It seemed harsh to use the old man's inex- 
plicable love for him as a bat to club him with 
but Dick was firm. He stuck to the formula, 
"a glass for a glass" and in two months they 
only took one drink. — and that was together. 

Dick was working again and their combined 
salaries covered the expenses easily. Dick was 
working and learning this time. He was trying 
minor jobs in ever}- department in the studios, 
not earning much but picking up the slant 
of the men and women who contribute the 
various angles that go to make modern pic- 
tures. 

His old enthusiasm revived. It wasn't 
quite the same because his attitude was tem- 
pered and qualified by a working knowledge 
of the thing that he adored but he was. none 
the less an awakening master of the new art. 

Krog read the rough manuscript that Dick 
was working on during some of his leisure 
hours at home. 

"Hm," he said, laying it down. "This ain't 
so bad, son, not so bad. I've shot worse 
scripts than this." 

"Thanks, dad." 

"You're beginning to get some heart into 
your stuff. T'm glad. But this story needs 
something to make it sell, something to make 
the audience go out feeling good and kind and 
warm — " 

"I wondered whether T ought to put on a 
happy ending." 

"You sure ought, son." 

"You mean have the ,uirl turn out not to be 
married to the villain and — " 

"Hell, no! bring on that girl from back 
home. She's the real heroine of your story, 
l he one the audience wants to see get l be ring 
and the cradle." 

" 1 wonder." 

" Sure. Think it over." 



a^B^JJl 1 i ['ft iPff \ 



IX 

THE producer who accepted Dick's script 
in the revised form was most enthusiastic 
about it and was Casting it beautifully. 

"I got a find for the vamp part in your story 
today," he told Dick. "It's that Luther girl, 
Millie Luther, she'-, just the type, — big-eyed, 
innocent looking, but with an awful kick 

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127 



underneath. She hasn't been around for a 
year or more. Ju>t turned up today la 
for ;i job. She'll In- .1 knockout iii the part it 
sin- hist plays berseJi " 

Diik didn't say anything. He was wonder- 
ing why his heart didn't turn over in Its grave. 
Hut it didn't. There was that, then. 

The producer, Sol Friedman, was continu- 
ing. " That mi the hard part to ca 1 I in- 
other one, the heroine, can be played by any 
nice girl. We want every fellow in the audi- 
ence to wish that she was his own sweetheart 
or wife or something, eh what?" 

"Ki^ht, I've got to run along now, Mr. 
I'll be here in the morning. 
friend who arrives from the 



So was had Krogstead. Dick 



Friedman, but 
I'm meeting a 
east." 

And he was. 
insisted on it. 

Katie got ofT the Limited dressed in the 
nicest blue suit she had ever owned, — nearly 
all of her savings were in it. She was not so 
very pretty but the way she looked out of her 

eyes made you "wish that she was your own 
sweetheart or wife or something." And the 
way she held up her lips shyly to be kissed 
nearly broke Dick's heart. He felt so un- 
worthy to be trusted. 

"This, Katie, is Dad Krogstead. We owe 
him just a little more than we'll ever be able 
to repay if we love him all the rest of our lives. 
Incidentally he is to be one of the witnesses of 
your wedding." 

"My wedding?" 

"Yes. aren't you willing to be married this 
afternoon? Great Scott, you're here in answer 
to my telegram, aren't you?" 

"Yes. But the wire just said. 'Come'." 

" And vou just came, — anyhow?" 

"Yes.* 5 

"Dad, what can I ever do to be worthy of 
this girl? I wonder if I dare try." 

X 

AFTER the wedding Dad Krogstead pro- 
duced a flask and poured himself a drink. 

"Were you aiming to put that stuff in your 
insides?" the newly created bridegroom in- 
quired politely. 

"I was." 

"Then give me that and pour yourself the 
second one." 

"Say," pleaded the old man, " you wouldn't 
go to that girl smelling of this damned stuff, 
would you?" 

"Our agreement was glass for glass, wasn't 
it?" 

"Yes, but that was before you were married. 
You aren't going to make me responsible for 
keeping you straight with Katie, are you?" 

"I certainly am." 

Dad Krogstead looked him all over to see if 
he meant it and finally threw the bottle out 
the window. He winced as it struck some- 
thing hard and crashed. 

" God forgive me. That was genuine stuff, 
too, aged in the drugstore." 



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28 



Photoplay Magazine — Advertising Section 



French Wo 



oman 




Tells How to 

Get Thin 

/ Without Drugs, Diets, 
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I reduced my own 

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and address.) 

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Is Edison Wrong? 

[ CONTINUED FROM PAGE 88 ] 

"Hurrying home, I unpacked my 'society 1 
i lothes and went back to the studio. Being 
new to the game, I didn't take any make-up. 
but Richard Thorpe came to my aid. In a few 
minutes I had a light orange complexion and 
accentuated eyebrows. 

" Ha\ing traveled across the Western deserts 
to various mining projects and encountered a 
terrific glare, the studio lights did not affect my 
eyes. In fact, they seemed dim compared to 
the sun's rays as I had known them upon the 
desert sands." 

.Mr. Grooms said that he recently completed 
the construction of a S4,ooo.ooo cyanide re- 
duction mill at Virginia City, Nevada. There 
he directed hundreds of men. Here in the 
movies he was being directed. 

"How does it feel to be directed?'' he was 
asked. 

"A person who is capable of giving directions 
i- capable of receiving them and earning them 
out intelligently," he replied. "This is a point 
in favor of the college-trained man. He ba- 
il well-balanced, receptive mind. An order, 
whether given or received, arouses no feeling 
of antagonism in such a man. An untrained 
man often misconstrues the motives for dim 
tions and lacks the ability to carry them out. 

"The first impression of a motion picture 
studio to one of scientific mind was one of 
utmost confusion. This later became clarified 
as I began, almost subconsciously, to stud} 
everything about me. I was able to co- 
ordinate the reasons for this and that after 
picking them apart — analytically, as we do in 
chemistry. 

"T BEGAN to realize that I had become a 
-*- transitory element in changing from the 
real to the unreal. There are reactions in com- 
bining chemical elements which are always the 
same. But this is not so in com' ining the 
actor elements — as we might term the players 
— each of whom registers a different individual 
reaction in response to the orders of the direc- 
tor, who is combining them into a scene. This 
difference in the actions and reactions in the 
human element is directly divergent to the 
results in the field.of exact science." 

This was pretty deep stuff, so he was asked 
if he considered picture acting very hard work. 

"Motion picture acting is the ma t restful 
occupation I ever dreamed of. All I have had 
to so in the way of work has been to follow 
directions. As far as the acting part was con- 
cerned, I hardly had to use my own brain one 
atom. Of course, the new work appealed to 
me. It isn't every day that one can get paid 
for dancing with Constance Binney. Also 
I met a number of players I had often seen on 
the screen — Mary Carr, Edmund Breese, 
William Bailey, 'and little Russell Griffin. 
Really, it has been a great vacation with pay." 

"Is the compensation as great a-- you re- 
ceived in your original occupation?" 

"No, indeed, not by a long shot," laughed 
Grooms, "but I'm only beginning. By 
September first my eleven fraternity brothers 
and T were to be established in our positions. 
I guess T have the edge on the rest. 

"We twelve have a year to make good in our 
new jobs. So, I expect that when we meet 
again at the annual reunion of the Sigma Phi 
next June many interesting experiences will be 
told. 

"Hut I'll bet a mining claim that I'll be the 
only one of the twelve who can .-how motion 
pictures of his experiences." 



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F RI EN DLY 
ADVI CE 



From 

Carolyn ^Van IVyck 



WHAT -hall I give u<r Christmas?" It's 
a universal cry, just now. "What gift 
i- tin- most suitable the most acceptable?" 
This i- tlu' question thai comes to me from the 
last minute shopper. "Can you give me any 
Christmas present suggestions?" peers up at 
me from i-\ it so many sheets of correspondence 
paper. And. in answer, I am mentioning a 
• i the lovely thin^ that may be purchased 
easily and quickly — and that tlu- recipient is 
sure toapprei iate. 

First of all there arc so many charming and 
useful toilet accessories! Powders, perfumes, 
all the accessary and luxurious aid- to beauty 
and daintiness. There arc wee vials of fra- 
grance, that may be carried so conveniently in 
pur-e or vanity bag. There are talcums of 
e\qui-ite texture, and such velvety face pow- 
der- and creams' There are lip -tick-, and 
rouges that bring hack the very freshness of 
youth. There are sets that come prettily 
boxed, containing three or four item- — each 
one a gift in it-elf. 

I call to mind, at this moment, a compact 
that 1 saw a few days ago. A pretty thing 
that was unique as well as attractive. The 
powder, a large cake, wa- in the top of the 
compact and. in a little sliding drawer, there 
rested a small cake of rouge and a tiny lip 
stick. The whole thing was so clever! 

Under the head of toilet accessories will come 
the always useful manicure set. This gift can 
he used the whole year through — and is always 
pleasant to have. 

Silk underwear, of course.! • Combinations, 
nightie-, knickers and even petticoats — for 
women are again wearing petticoats! Furs, 
too. and even coats and dres>es may he pur- 
chased, if you are very, very sure of the pro-p- 
ective wearer's size and choice of color. 

A mesh bag is always a beautiful and lasting 
gift. One that never loses its smartness and 
its utility. And jewelry solves many a prob- 
lem. Often newly engaged men give the 
betrothal ling — the pledge of love eternal — 
for a Christmas gift. Indeed, a diamond is 
always the most splendid present! And there 
are such exquisite bits of novelty jewelry, 
always. Urooches. bar pin-, rings and La 
Yallieres. Pendants and earrings. Pearls 
and wrist watches. Bracelets and chains. 
And on. through a seemingly endless list. 

For the bride to be — or, for that matter, for 
any housewife — a chest of silver is a thoughtful 
and truly wonderful Christmas token. One 



that will stay, through tin- year-, to keen .1 
precious memory alive and Bweet. Smaller 
piece- of silver arc always in good taste — and 

are always wanted hy the average woman, 

Stationery! Monogr.immcd, initialled or 
with a crest. Or, if tlu- time i- too short for 
the personal touch, in a gilt cabinet. Hooks, 
always. And musical instruments for the 
talented ones — or for those who desire to learn 
self expression through the medium of melody. 
And — last hut not lea-t, by any means — 
there is always the gift that will be appreciated 
by young or old — by man or woman. Hy, in 
fact, the whole family. 

There is always a subscription to Photoplay 
M \c. \zi\t! 

1 i in:. SAYVTXIE, I.. I. 

I do not think that nineteen is too young to 
take up dancing lessons — especially as you 
have a natural talent in that direction. Of 
rou^c it is always better to begi i such train- 
ing at a very early age — hut since you didn't; 
well, better late than never! 

If you are interested in taking le-sons by 
correspondence, you will find some satisfactory 
school- advertised in Photoplay Magazine. 
You are near enough to Xew York, however, 
to take them personally at one of the city's 
many dancing schools. If you will -end me an 
addressed envelope I will be glad to give you 
the names of some in-titutes of the dance that 
I can recommend. If you will tell me the 
amount of money that you can afford to spend 
upon lessons, it will help me to advise you 
properly. 

Little Vamp, FnrHRiRr.. M\ss. 

Are you sure tint you don't help along this 
so called "sex appeal" of which you are pos- 
se.-sed? A style of dress, make-up that is a 
shade too obvious, an intriguing manner — they 
will all make you the victim of undue familiar- 
ity. I've always found that a girl is not sub- 
jected to insult or to unwelcome kisses without 
being at lea-t partly to blame. 

You say that you try to be cool and just 
politely interested. Try harder. Make your 
interest very polite and distant, indeed. And 
don't be afraid of hurting feelings. 

Above all, be honest with yourself — and 
with me. Are you sure that you suffer as 
much as you say that you do. from these 
masculine attentions? I detected a slightly 
self-satisfied note in your letter. 



Let Carolyn Van Wyck be your confidante 
She will also be your friend 

S^JROLYN VAN IVYCK is a society matron, well known in New York's smartest 
(_, and most exclusive inner circle. She is still young enough fully to appreciate the 
problems of the girl — she is experienced enough to give sound advice to those in need of 
it; be they flappers, business women, or wives and mothers. She invites your confidences 
— she will respect them — on any subject. Clothes, charm and beauty, love, marriage, 
the dreams and hopes that come to every one, the heartbreaks and the victories — who has 
not wished to talk them over with some woman who would be tolerant and just, sympa- 
thetic and filled with human understanding? Here is the opportunity to do so. 

— The Editor 




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Send me. absolutely free, your new illustrate.) cata- 
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Building Contractor Machine Shop Practice 

Automobile Engineer Photoplay Writer 

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How to care for 

'Dull Hair 

You cannot expect hair which is naturally devoid 
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an ordinary shampoo. You must use a shampoo 
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to your hair — GOLDEN GLINT Shampoo. This 
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Miss Pinky, Dunskuir, Cal. 

Just what is your objection to exercise — it 
seems strange that you should want to lose 
weight without exercise, when exercise is one 
of the best ways to reduce. However, next to 
exercise, I should suggest diet. Eliminate 
butter, potatoes, white bread, cream, milk and 
sugar, in all forms, from your daily menu. 
And the seven pounds will undoubtedly dis- 
appear in short order. You're lucky to be only 
seven pounds too heavy! 

J. M. K., Rhode Island. 

Yes, your weight is all right. You are a 
trifle under normal — but that's a good fault. 

The colors that I have mentioned in my 
letter to C, of Waterloo, Iowa, will be becom- 
ing to you. I should also add French blue 
and midnight blue and henna to the list. 

Frilly clothes — two-piece dresses, panniers, 
ruffles and full skirts will make you seem 
shorter. The slim, unbroken line is for the 
girl who would seem taller — you may indulge 
in ultra feminine clothes — to your heart's con- 
tent. 

"Elite," Vancouver, B. C. 

I think that you would look very smart in a 
turban. In fact, as you are so small, you 
should usually wear tiny hats, close-fitting 
ones. A hat with a brim — especially a wide 
brim — will make you seem shorter. With 
black hair, brown eyes and a dark complexion, 
you will look well in rose, red, green, dark blue, 
brown and tan, heather mixtures, periwinkle 
and orchid (these last if you have colorful 
cheeks and lips) and yellow. Wear simple, 
straight-line frocks — never frills and ruffles, 
unless you are very slim indeed. 



If the young man in question calls upon you, 
and asks you to go out with him, I think that 
you can be reasonably sure that he likes you. 
In this day and age young men do not waste 
their time upon girls whom they do not like. 

Kid Newark, New Jersey. 

Indeed, there is quite a discussion over the 
length of dresses this year. Paris — conscious 
of her pretty ankles — is fighting hard for the 
return of the short trotteur frock, and the 
shorter tailored suit. But America likes the 
long skirts, and is striving to keep them. For 
myself, I rather fancy the long gown for even- 
ing — for dinner and afternoon function. But 
for sports wear, and for street wear, I think 
that the moderately lengthed skirts are 
smarter and more practical. 

Long skirts are best for the girl who is in- 
clined to be plump. A long skirt creates a 
longer, slimmer line. It makes the outline of 
the figure a rectangle rather than a square, and 
you know yourself that a square always seems 
stouter than a rectangle! A schoolgirl should 
not wear her skirts too long, or too short. The 
happy medium always. In fact, I suggest that 
thus special schoolgirl should follow the excel- 
lent advice of her mother in regard to skirts, 
and — for that matter — everything else! 

A brunette with good color is fortunate in 
being able to wear the warmer shades. The 
reds that are so popular; flame, tangerine, the 
deep, new rust; brown, midnight blue, and 
black in combination with other shades. If 
your eyes are blue — and something tells me 
that they are a dark blue, although your hair 
and skin are of the brunette persuasion — you 
may successfully wear Nile green, violet, 
orchid, and French blue. 



Gossip — East and West 

[ CONTINUED FROM PAGE 96 ] 



BEFORE she sailed for Italy to help Sister 
Lillian in the picture "Romola," Dorothy 
Gish made a startling statement. She ad- 
mitted that her husband, James Rennie, was 
not her first love. And she named the other 
man. He is Fiske O'Hara, the stout, sweet 
singer of Irish ballads and portrayer of Irish 
characters. Mr. O'Hara smilingly confirms the 
report of Miss Gish's one time mad devotion 
for him. But, as judges say, there were miti- 
gating circumstances. 

While Miss Gish was six years old and again 
while she was seven, she was a member of the 
singer's company. She entertained a fervid 
devotion to her star. She told him of her love 
and he promised to wait the long interval 
between her then age and her grown-up state 
and reward her attainment of the voting age by 
marrying her. But alas! Solomon made a 
drastic but true statement concerning the 
reliability of the human male. Mr. O'Hara 
fell in love with his dainty leading woman, 
Marie Quinn, and married her. Small Dorothy 
was inconsolable. She wept daily, and openly 
hated the pretty bride. Mrs. O'Hara's over- 
tures to her tiny rival were rewarded by slaps. 

"It lasted nearly a year. Don't tell me 
childish troubles are brief," says Mrs. Rennie. 
Handsome James Rennie smiles at the recital. 

MORTORISTS in Rolls Royces were indig- 
nant when stopped while trying to cross 
a bridge near Brewster, N. Y. A mounted 
member of the state police held up a restrain- 
ing hand. 

"Kindlv make a detour to the left," he said. 
"Mr. Griffith is engaged in taking a scene for 
the patriotic picture, 'America.' " 

Wealthy motorists stared, muttered some- 
thing about an ••invasion of their rights," 
spluttered, grinned and complied. 

EUGENE O'BRIEN, meeting a screen 
beauty on a street car in New York, apolo- 
gized for keeping his hat on. 

"I've just had tin- thin spot in my hair 
pomaded and the scalp massaged," he said. 

Every advertisement in PHOTOPLAY MAGAZINE is guaranteed. 



"The barber warned me to keep on my hat. 
If I removed my hat I would look as though I 
had fallen into a barrel of lard. What sacrifices 
a man must make to hold his screen maidens 
true." 

ANY time when there is a rest on the set 
where John Banymore is working on 
"Beau Brummel," he and director Harry 
Beaumont indulge in fanciful experience and 
much romancing for the benefit of the listening 
cast. 

"When I was in India," said Beaumont, the 
other day, "I once saw a tiger come down to a 
river where some women were washing clothes. 
It was a very fierce tiger, but one woman fear- 
lessly splashed some water in its face and — 
this is absolutely truthful — it slunk away. 
Quite abashed it was. too!" 

"Gentlemen," said Banymore, without 
batting an eye, "I can vouch for the truth of 
that story! Some minutes after the incident 
occurred I was coming down to the same river. 
And, as I walked along, I happened to pass this 
same tiger that Mr. Beaumont has been telling 
about. As is my habit, I stooped over to 
stroke its whiskers. Gentlemen, those whiskers 
were wet!" 

KING YIDOR has been selected by Metro to 
direct Laurette Taylor in "Happiness" — 
J. Hartley Manners' play in which Miss Taylor 
—who is really Mrs. Manners — starred on 
Broadway. After " Happiness" is finished 
Miss Taylor will be starred in another play of 
Mr. Manners — "One Night in Rome." 

Production on "Happiness" will begin 
almost at once. 

"/^\UR GIRLS"— the club of young screen 
^'stars in Hollywood — has recently elected 
three new members — Colleen Moore, Car- 
melita Geraghty and Zasu Pitts. Rumor has 
it that the initiation was very exciting and that 
Zasu, Colleen and Carmelite all felt as though 
they'd been through a snappy football match. 



Photoplay Magazine Advertising Se< hon 



i 1 1 



AND m>u Mm.i Rubens, having crept oul 
from under the shadow ol the " Red Robe," 
which has kept hex busy foi so many months, 
has joined the I i — t — oi the newly married For, 
.u ,i secret ceremonj that happened "<>n 01 
near Labor Day," she promised to 1<>\ <.-. honoi 
and obey Dr. Daniel Cai on Goodmun, w li<» i-> 
an author and film producer. The marriage 
i ame .1- .t surprise to the fibn world. For lima 
has been working m> hard and steadily in her 
latest Cosmopolitan production that one 
would hardly nave credited her with time i<> 
fall in U>\ i-' And thou, too, she and l>r Good 
man are not old friends. Indeed^ it has been 
>.ii.l that the romance started ju^t .1 few months 
ago, when t hi- couple met through the ic 
hearsals of ■ feature Gun which l>r. Goodman 
was directing. 

THIS i> .i news note for father who remem- 
bers the day when Charles I'.. Blaney was .1 
very big name, and when Tony Pastor ruled on 
Fourteenth Street. For t hi-, is an announce- 
ment that Vitagraph will release a number of 
the old favorites, made under the personal 
supervision of Mr. Blaney himself, and featur- 
ing Doris fCenyon, Victor Southerland and 
Cecil Spoonei - another name to conjure byl 

[he tirr-t picture to be given to the eager 
public, so called, is " [he Love Bandit." The 
names of the forthcoming productions are as 

follows read em and weep! 
"The Little Church Around the Corner." 
" More tfl be Pitied." 
" The Curse of Drink." 
"The Dancer and the King." 
"Across the Pacific." 
And— 
"Nell of the Circus." 

ERNST LUBITSCH is a worker and a 
seeker after realism — take it from Mrs. 
Ernst! While he was busily directing a scene 
for his forthcoming production, "The Mar- 
riage Circle, "the prop man was — just as busily — 
constructing a rose bush to be used in the next 
set. A sickly looking rose bush, that set 
Lubitsch to writhing and tearing his hair when 
he laid eyes on it. 

Ernst is a man of few words. He surveyed 
the rose bush for a moment, with anguish in 
his gaze. And then he turned and leaped into 
his car, and drove away, and not-more than ten 
minutes later he returned with a very beautiful 
rose bush, which was forthwith planted upon 
the set. 

Anil, an hour or so later, when Mrs. Ernst 
strolled forth to work in her garden, she found 
a dark and empty spot where her favorite rose 
bush had been wont to bloom. 

DURING the filming of the "Country Kid" 
at the Warner Studios, little Bruce Guerin 
persisted in asking Wes Barry a seemingly end- 
less number of foolish questions. 

"Say," Wesley finally shouted, "you simply 
gotter lay off me, Bruce. You're drivin' me 
crazy. Don't you know that curiosity killed a 
cat, onot?" 

Bruce looked up, innocently, into the 
freckled face of Wesley. 

"What did th' cat wan' to know, We-?" he 
asked. 

MAY BE it's the fashion for men to wear 
jewelry. If so, Rod La Rocque, tall and 
dark young leading man, is certainly a la mode. 
Rod is wearing one of these new-fangled chain 
bracelets, with a large clasp, a half-dozen rings, 
and a variety of stickpins and — no. not ear- 
rings yet. However, a good many people are 
making mighty exciting predictions about La 
Rocque's work in "The Ten Commandment-." 
so it may be merely an early indication of 
genius. 

BABY PEGGY was presented with a ques- 
tionnaire the other day. It's just about the 
nearest she has come, to date, to being inter- 
viewed. Though she resents publicity — a- do 
all motion picture stars — she quickly answered 
the following queries: 



I i\oi ii, .1, ioi ,- | .ii kic ( loogan 
1 .n oi ite actress? I nid Betuu it 

Favorite authoi ' Mothei • i 

I avorite pu time? Die ing up liki 
lad\ 

I iv oriU food.' Ilol dog-.. 

Favorite i»>i t ' Squirting tin- ho , 
What do you want to be when sou jro * up' 
\ '' ii lad) i'. ii ii long hab 

XJnkM \ I \l.\l \Di.i: has been a tern 
^^porarj widow. Her husband, Joseph 
Si hen, k, ha . been in N< Sfork on bu 
and \, ii n i.i couldn't go because he didn 

her pi, tun- finished. The rest Ol her lainilv 

il o deserted her Constance ha- been at Del 
Monte vacationing, and the Buster Keaton 
with Mrs, Talmadge and young Joseph Tal 
madge Keaton, have been motoring— and 

Norma, lor the lit'^t time in her life, has been 
Occupying her big house all by herself. Hei 

greatest chum, Eileen Percy, ha- been staying 

with her, however, and Norma says she's 

survived, but it's never going to happen again 

BABY PEGGY, youngest of screen star-, had 
a very long list of relatives, friends aid 
business associates who had to be remembered 
nightly in her prayers. Beginning with mama 
an. I daddy and sister and ending with the 
property boy, Peggy was saying "God bless" 
somebody for a good half-hour every evening. 
At last one night, after she had finished, she 
stopped, looked meditatively up at her mother 
and remarked, "Mama, there's no use talking, 
I got too long a God bless." 

pROBABLY the only place in the world 
-*- where they play tennis at night is on Priscilla 
Dean's beautiful court in Beverly Hill>. 
Priscilla has had it lighted by enormous arc 
lights from the studio and you can really have 
a very good game there any time during the 
evening. 

A valuable addition to the motion picture 
colony, especially to the tennis ret, is William 
Tilden II, national champion and famous 
tennis star. Mr. Tilden has decided to go into 
pictures, and has taken up his residence in 
Hollywood. He made several decided hits in 
amateur theatricals in New York and Long 
Island, and, seeing he can't play tennis all the 
time, he decided to try the movies. 

We don't know whether or not hi- admira- 
tion for Pola Negri and her evident liking for 
him had anything to do with his move to 
Hollywood. 

AND now Richard Walton Tully has signed 
Anna Q. Nilsson to play the part of 
Allegheny Briskow in his production of Rex 
Beach's story of the oil field-. Anna Q. is one 
of the busiest young women in Hollywood 
these days. She jumps from production to 
production with amazing speed — and always 
makes a hit. Joseph De Grasse will direct 
"Flowing Gold," and the cast — with the 
exception of Miss Nilsson — has not been an- 
nounced. 

THE motion picture industry was well repre- 
sented in the recent California dog show- 
held in Hollywood. Mrs. Elliott Dcxter's two 
beautiful shepherd dogs, both champions, won 
everything in their class. Al Christie, producer 
of the Christie comedies, also came away with 
a number of blue ribbons tucked under his 
arm. Enid Bennett showed her beautiful 
Chow. " Buddha." in the puppy class and cap- 
tured honors, as did Anne Cornwall (Mrs. 
Charles Maigne) with her Scottish terrier. 

W/'E recommend everyone to watch for 
VV Florence Yidor's performance in the com- 
ing Ernst Lubitsch picture. "The Marriage 
Circle." For a long time Photopi \v has been 
i laiming that Florence Vidor had the greatest 
dramatic potentialities of any actress on the 
screen, if only she could get a director who 
understood how to bring them out. Lubitsch 
did. And Florence has more than fulfilled 
every prophecy we ever made about her. 




t last I 




How Wonderful it Feels" 

PROMINENT women in 
society, business and 
the theatrical profes- 
sion give unqualified 
praise to Dr. Ii. Lincoln 
i>/^*^j-tfi~S Graham's prescription, 
o" ,'U neutroids, for flesh re- 

"- u ttyf***'! duction. "Slender at last ! 
. ■&" i y&"*! Oh, how wonderful it feels," 
7/ -ji^* 1 . if * write hundreds of grateful 
yi/s j tn .*.» - WO men. Dr.Grahamhasmore 
than oOOOsuchletterson file at 
his famous sanitarium on Eighty-ninth Street, New 
York. Without the annoyance of diet, baths or ex- 
ercise, it is now possible to regain and retain the 
slenderness, and consequently the vitalitv of youth 
much longer than most women had expected. 

Dr. Graham's Prescription is Harmless 

(8f\ Neutroids, the prescriptiondeveloped 

\7m ,% by Dr.R.Lincoln Graham, famous New 
* ; : York stomach specialist.after a lifetime 
.Xtf : ' of research, merely reduces the yeast 
/ \ J. \ cells in yourstomach. This causes your 
\J food to turn into firm tissue instead of 
W fat. Neutroids have just the opposite 
11 effect of yeast cakes and preparations 
«/ taken by people who wish to gain flesh. 

Dr.R l .a rahamThey relieve you of that bloated feeling, 
nausea, headache, blood pressure and all the ills of 
obesity — at the same time reducing you to your de- 
sired weight. Neutroids are guaranteed harmless, 
containing no thyroid or other dangerous drug. 
Personal Consultation Without Charge 
Dr. Graham would be pleased to have you consult 
him personally at his sanitarium or if you can not 
conveniently call, you may feel quite free to write 
hi m for professional advice regard ing your case.This 
offer is open to all who order Dr. Graham's prescrip- 
tion Neutroids, using the coupon below. 

GUARANTEE ELIMINATES RISK 
Dr. Graham guaranteesNeutroids to give satisfactory 
results; and that his pre- 
scription may be taken with 
safety by any one. Every 
woman orman who wishes to 
regain or retain the youth- 
fulslenderappearance and |l N EUTii |^r^7rr~S 
vigor of youth will use this ^ 
coupon without delay. 

Dr. R. Lincoln Graham. 128 East 89th" Street Dept. 612. 
c/o The Graham Sanitarium. Inc., New York City: — Send 
me 2 weeks' treatment of Neutroids which entitles me to 
free professional mail consulting service and free booklet 
on Obesity. I will pay postman %Z 'plus 15c postage' on 
arrival of the Neutroids m plain package I understand my 
money will be refunded if I do not get a satisfactory reduc- 
tion from tin's 2 weeks' treatment. 







with, DESIrV/EVI- 

A SAFE, SIMPLE, PAINLESS, 
GUARANTEED HOME TREATMENT 
Write fbr~Bookla of InTormalbn-ll'sFrct 
D5C-L-ALLEN-326 CHAMBERS BLDG 

-v KANSAS CITY. MO. " 



■•:• 



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Subscription rates are listed 

on page five, below Contents. I 



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132 



Photoplay Magazine — Advertising Section 



. Proctor, r?% 
ton, N. H. «\ 




«• 



0\ 

\>- 

\0 

\0 



Mellin's Food and milk will enable your 
baby to have the healthy and robust 
appearance so typical of all Mellin's Food 
babies. 

Write today for a Free Trial Bottle of 

Mellin's Food and a copy of our book, 

ff TJie Care and Feeding of Infants." 

Mellin's Food Co., 177 State St, Boston, Mass. 



0\ 



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J5^^'^Sl€©»<^ , ^i>s>€€®5^S^>i)€€®55^ , SS§K 



Every advertisement in I'lIOTOFLAY MAGAZINE Is guaranteed. 



CO 



sup, 



Colgate's Compacts 

"■ Mrnjelmje Ji<Kr Jnj fr.i^'.in.i '— >MtlirY 

Here arc two jolly one*— powdci 
alone or rouge and powder. 
1 bony black, golden border. On 
be monogranuned u slight cosi 
Round 5 1 OCX Piamond $1 .25 





TE'S 



C fa;S 



Colgate's Cha Ming 

"£**T .-kdrrnint. rt*T nfu'" — lOMN OTIR 

Silver boughs, blossom laden; sparkling 
dew; a Chinese temple against a vivid 
sky. Of these Cha Ming speaks with its 
exotic fragrance— Cha Ming indeed. 

Extract $1.00 and $2.00 
Toilet Water . . $1.50 




Perfume for Youngsters 

"l modi; a nosegay" — shelley 

Miniature vials of gathered fra- 
grance. Four little bottles all in 
a tow, or two with a small cake 
of Cashmere Bouquet Soap. 40c 



A cheery red tube 
of Ribbon Dent.il 
Cream for each 
stocking. 25c 




\mm 




nicmj Christmas 



GIJjE. pass on to you Oliver Wendell Holmes'opin- 
yr ion that memory, imagination, old sentiments 
and associations ate more readily stirred by a fra- 
grance than by almost any other means. The pleasure 
of a Colgate gift, with its fragrant loveliness, will stir 
the memory and live in sentiment long aftet the gift 
itself has yielded its last precious remnant. 

COLGATE 6k. CO. 




monotfrnnt cai 
ngraved a< -"liyiv 
by your jeweler 



Florient Combination 

"A box whereswteu compacted lie" — Herbert 

A trio, Florient scented — Powder, Rouge, Extract. 
With these, one may sally forth serene. Varied in the 
uses of its contents. Harmonized in scent. A gift 
box de luxe. $2.50 



Other Suggestions 

For Her: Charming fragrances: Monad Violet — Orchis— Eclat. 
Gift boxes of Colgate's toiletries nil scented alike — Charmis Cold 
Cream, Cha Ming Powder, dainty soaps, powders and creams. For 
Him: Rapid t -Shave Cream or "Handy Grip" Stick — Lilac Imperial 
so refreshing— Colgate's Talc — Cashmere Bouquet or Coleo Soap. 

At Your Favorite Store 



^se 



■■■J 



Colgate's 
Cashmere Bouquet 

"a nosegay ofculltd llouers" 

— DC MONTAU.NI 

Verbena, mignonette, lavender; 

these does the fragrance of 

Cashmere Bouquet suggest. In 

favored toilet soap or in dainty 

extract. 

Soap (3 cakes) 70c. Extract $1.50 




tAen's Qift Box 

" — now my task is smoothty done"— MlLtON 

A gift that will find immediate 
use. Shaving Cream or "Handy 
Grip", Toilet Water, Coleo Soap. 
A distinctly masculine affair. 

$1.50 




Colgate's Florient 

"And a thousand fragrant posies" 

— MARLOWE 

Golden sunshine, silver seas and 
breeie-kissed flowers — breathing 
the languid soul of the Orient — 
Florient. Extract $1.00 to $10.00 
Toilet Water $1.50 




QIVE $ COLQATE ^ QIFTS 



COMMUNITY PLATE 




J. l/K, A 1 ti(ll/fll*l VJiWbfi * \S \^ 




^mP 



February 




25 cents 




gffi. 



mS 



**6 

^1 





CORINNE GRIFFITH 



What Type of Women j ^ eginning TOLA ^EGRI'S 

l oAt tract . \letl < Most? I oAmazim oAutobioorabhy 



2V(c 



ow. 



qA truly perfect 
aid to your beauty 

At last a really perfect van- 
ity box, a really perfect 
gift, too — the Djer-Kiss 
Two- Fold Compact! It 
contains Djer-Kiss Rouge 
and Face Powder in com- 
pact form — and two 
mirrors. With this new aid 
to beauty, Mademoiselle 
may see her Rouge, her 
Face Powder and herself — 
all at the same time. 

Yes, two mirrors! The 
unique and exclusive Djer- 
Kiss reducing mirror which 
reflects the whole face at a 
glance. A detail mirror, 
too, which reflects any part 
ot the face. 





erjume wise, 

from the /"> 

Continental Olite mmmmmmmmi ^ 

"£~>HE who would achieve, in the toilette, a harmony 
^^ quite perfect will choose a subtle French odeur and 
*<J permit that single fragrance to grace each need ot 
her dressing hour. One fragrance only." That is the Con- 
tinental law of perfume use. 

How, then, may la dame Americaine, in the distinction 
of her own toilette, walk hand in hand with the chosen of 
Europe? How, indeed, except that she choose Djer-Kiss; 
Parfum Djer-Kiss — which breathes alluring secrets of 
romance Parisien; except that she employ those many 
Djer-Kiss toiletries which bear, all, the fragrance of this 
same French odeur. 

Her Face Powder, her Rouge, her Creams, gently they 
will carry the French fragrance of Djer-Kiss. So with her 
Talc and her Sachet. Toilet Water and Soap, 
too, all will be fragrant of Djer-Kiss — each 
will whisperof charm and gaiety Parisien.To- 
a. gether they will bring to la toilette finie a har- 

mony indeed French and indeed fashionable. 









The flower show 
at Cannes — an 
annual festival; 




Send for Monsieur KerkofPs Parisian Paquct 
/;/ return for merely I f,c Monsieur Kerkoff's importa- 
teurs Will send to Madame their Parisian paqiiet 
containing dainty samples of Djer-Kiss Parfum, Face 
Powder and a miniature satin Sachet-pi How. Address 
Alfred H. Smith Co., 26 West 34th Street, New York. 




Three Parisian aids to Charm 

Talc Djer-Kiss. 



Parfum Djer-Kiss. Perfume 
masterpiece of Monsieur 
Ktrk ff himself. 

Djer-Kiss Face Ponder. So ex- 
quisite fragranced in France 
with Parfum Djer-Kiss. 



To know Talc Djer-Kiss is 
to know the delight of a 
perfect Talc from France — 
fragrant with Parfum Djer- 
Kiss. 



EXTRACT • FACE POWDERS -TALC • TOILET WATER • VEGETALE • SACHET- ROUGE • IIP ROUGE • FACE CREAMS -SOAP • BRILLIANTINE 



These specialties— Rouge, Lip Rouge, Compacts and Creams — blended here uith pure Djer-Kiss Parfum imported from France. 



O 1924 AHSC01 



Photoplay Maoazini Advertising Section 




It ruined her entire evening 



SOMETHING that she had overheard quite 
by accident — several men talking about 
her when they didn't know she was near. 

Surely this sort of thing couldn't be true of her 
— and yet she had heard them with her own ears! 
She couldn't get home fast enough. Nor 
could she explain to her escort why she was so 
upset. She felt only like bursting into tears 
— which she did the moment she was alone. 



That's the insidious thing about halitosis (unpleasant 
breath). You, yourself, rarely know when you have it. 
And even your closest friends won't tell you. 



Sometimes, of course, halitosis comes from some deep- 
seated organic disorder that requires professional advice. 
But usually — and fortunately — halitosis is only a local 
condition that yields to the regular use of Listerine as a 
mouthwash and gargle. It is an interesting thing that 
this well-known antiseptic that has been in use for years 
for surgical dressings possesses these unusual properties 
as a breath deodorant. 

It halts food fermentation in the mouth and leaves the breath 
sweet, fresh and clean. Not by substituting some other odor, but 
by really removing the old one. The Listerine odor itself quickly 
disappears. So the systematic use of Listerine puts you on the 
safe and polite side. 

Your druggist will supply you with Listerine. He sells lots of it. 
It has dozens of different uses as a sale antiseptic and has been 
trusted as such fur a half a century. Read the interesting little 
booklet that comes with every bottle. — Lambert Pharmacol Company, 
Saint Louis, U. S. A. 









^^r ^^r «** , ' _ "*- 




tl 






HALITOSIS 


LISTERINE 












^^^^B Bffi P. . ... . . HH^HH^HM i*?~ .'* fj*. 





When you write to advertisers please mention PTTOTOPT.AT MAGAZINE. 



Photoplay Magazine — Advertising Section 



rjL n JuuuiAJUULnJuuuuuui 



juuuuiJuuuui-iuuuuijruijnL^^ 




1924 brings an abundance of 
Paramount Pictures 

Compare values and you will follow the Paramount trademark 

To know how to get better entertainment just compare 
pictures, point by point. 

Story-interest! — maybe that's the biggest thing. No story 
can become a Paramount Picture unless it is drenched with 
the spirit of entertainment. 

In acting and in the subtle art of the director you have 
your own taste. Discover what a considerable amount of 
the best of this reaches the screen of your theatre marked 
Paramount. 

Splendor of staging! Luxury of dressing! Brilliancy of 
setting! You experienced fans have actually come to take these 
for granted in every Paramount Picture that requires them. 

Many Paramount Pictures have been the outstanding suc- 
cesses of '23. "The Covered Wagon" loomed up as the 
biggest planet ever seen in the sky of entertainment! 

1924 will see an abundance of Paramount Pictures. The 
excitement created by Cecil de Mille's production "The 
Ten Commandments" will take seasons to die down. Many 
other great new Paramount Pictures are coming. 

Take the trouble to note the brand names of pictures. 
Do it and you'll appreciate that the name Paramount is a 
sure guide to the best show in town. 



FAMOUS PIA\ KRS lASKYCORPORATtONt 

ADOLPH 7UKOR. P~*. .«..-( fc ^i . »^ 

, — ! '. — ! V* < Ac -.' 



% 



A James Cru^e production with Edward 
Horton, Theodore Roberts, Helen Jerome 
Eddy and Louise Dresser. From the play 
by George S. Kaufman and Marc Con- 
nelly. Written for the screen by Walter 
Woods. 

"Big Brother" 

An Allan Dwan production with Tom 
Moore. Raymond Hatton and Edith Rob- 
erts. Written for the screen by Paul Sloane. 

"Don't Call it Love" 

A William de Mille production with Agnes 
Ayres, Jack Holt, Nita Naldi, Theodore 
Kosloff and Rod La Rocque. From the 
novel "Rita Coventry" by Julian Street. 
Written for the screen by Clara Beranger. 

"West of the Water Tower" 

Starring GLENN HUNTER, with Ernest 
Torrence and May McAvoy. Supported 
by George Fawcett and Zasu Pitts. Di- 
rected by Rollin Sturgeon. Adapted by 
Doris Schroeder from the novel by Homer 
Croy. 

"Flaming Barriers" 

A George Melford production, with Jac- 
queline Logan, Antonio Moreno, Walter 
Hiers. By Byron Morgan. Adapted by 
Jack Cunningham. 

"The Heritage of the Desert" 

An Irvin Willatt production, with Bebe 
Daniels. Ernest Torrence. Noah Beery and 
Lloyd Hughes. Written for the screen by 
Albert Shelby Le Vino. 

"The Humming Bird" 
Starring GLORIA SWANSON. A Sidney 
Olcott production. From the play by 
Maude Fulton. Screen play by Forrest 
Halsey. 

"Pied Piper Malone" 

Starring THOMAS MEIGHAN. Sup- 
ported by Lois Wilson and George Faw- 
cett. By Booth Tarkington. Directed by 
Alfred E. Green. Adapted by Tom Ge- 
raghty. 



'W 



JuuuuLnjuuuuuuu: 



QJULlLfLfUl 



1 ^Paramount ^Pictures 

If it's a Paramount Picture it's the best show in town! 



*vTniTnrvvTnnnnririnnrirvT^ r. 



Every advertisement In PHOTOPLAY MAGAZINE is guaranteed. 




> ' 









• U >, u 9-y 

Mm \ 





The World's Leading Motion Picture Publication 



PHOTOPLAY MAGAZINE 



KIUNK T. POPE 
■4MMDMI hoitob 



JAMES R. QUIRK, Editor 



Alll-.I.A KOOn ST. JOHNS 
MN kihtok 



Vol. XXV 



No. 3 



Corinne Griffith 



Contents 

February, 1924 

Cover Design 

From a Pastel Portrait by J. Knowles Hare 

Brief Reviews of Current Pictures 8 

In Tabloid Form lor Ready Reference 

Brickbats and Bouquets 14 

Frank Letters from Readers 

Rotogravure : 19 

New Pictures:. Agnes Ayres, John Bowers, Jane and 
Eva Novak, Ann Forrest, Mary Thurman, Trilby 
Clark, Peggy Shaw 

Speaking of Pictures (Editorials) James R. Quirk 27 

What Kind of Women Attract Men Most? Herbert Howe 28 

Sex-Attraction Skillfully Analyzed 

How Those Animal Comedies Are Made 30 

Or, the Secrets of Dippy-Doo-Dadville Revealed 

Hollywood's Mystery Woman Adela Rogers St. Johns 32 
Edna Purviance Baffles the Film Center 

The Paved Jungle (Fiction) Frank R. Adams 34 

The Story of a Girl Who Eluded the Perils of Broadway 

Illustrated by Arthur William Brown 

The Barthelmess Baby (Photographs) 37 

Dick Plays the Role of Father without Make-Up 

(Contents continued on next page) 

Published monthly by the Photoplay Publishing Co. 

Publishing Office, 750 N. Michigan Ave., Chicago, III. 
Editorial Offices, 221 W. 57th St., New York City 

The International News Company. Ltd., Distributing Agents, 5 Bream's Building, London, England 

Edwin M. Colvtn, Pres. James R. Quirk, Vice-Pres. R. M. Eastman, Sec.-Treas. 

Kathryn Dougherty, Business Mgr. 

Yearly Subscription: $2.50 in the United States, its dependencies, Mexico and Cuba; 

$3.00 Canada; $3.50 to foreign countries. Remittances should be made by check, or postal 

or express money order. Caution — Do not subscribe through persons unknown to you. 

Entered as ie;ond-class matter April 24, 1912. at the Postoffice at Chicago. 111., under the Act o( March 3, 1879. 



Photoplays Reviewed 

in the Shadow Stage 

This Issue 



Save this magazine — refer to 
the criticisms before you pick out 
your evening's entertainment. 

Make this your reference list. 

Page 62 

The Ton Commandments Paramount 

The Call of the Canyon Paramount 

A Lady of Quality Universal 

Page 63 

Big Brother Paramount 

Tiger Rose Warner Bros. 

To the Ladies Paramount 

Page 64 

Wild Bill Hickok Paramount 

Twenty-One First National 

The Man from Brodney's Vitagrapli 

The Extra Girl Sennett 

The Light that Failed Paramount 

Stephen Steps Out Paramount 

Page 65 

Six-Cylinder Love Fox 

Slave of Desire Goldwyn 

This Freedom Fox 

Fashion Row Metro 

The Dangerous Maid First National 

Woman to Woman Selznick 

Page 88 

The Shepherd King Fox 

Name the Man Goldwyn 

The Unknown Purple Truart 

Around the World in the Speejacks 

Paramount 

In the Palace of the King Goldwyn 

Her Temporary Husband. . . I-"irst National 

The Mailman Film Booking Office 

White Tiger Universal 

The Thrill Chaser Univ. i il 

Maytime Preferred Pictures 

The Dav of Faith Goldwyn 

Half-A-Dollar-Bill Metro 

Why Elephants Leave Home Pathe 

Pioneer Trails Vitagrapli 

Page 90 

Uncensored Movies Pathe 

The Whipping Boss Monogram 

The Red Warning Universal 

South Sea Love Fox 

The Mask of Lopez Monogram 

When Odds Are Even Fox 

Yesterday's Wife Apollo 

The Near Lady Universal 

The Miracle Makers. .AssociatedExhibitors 

Fashionable Fakers F. B. O. 

The Satin Girl Apollo 

Enemies of Children Mammoth 

Cupid's Fireman Fox 

The Dangerous Hour .... Johnnie Walker 



Copyright. 1924, by the Photoplav Publishing Company. Chicago. 



Contents — Continued 

Odds and Ends the Camera Caught (Photographs) 
Unusual Pictures Taken in the Studios and on Location 



'XG^' 



*•*& 



The Autobiography of Pola Negri 

A Narrative Remarkable in Its Self-Revelation 



Gossip — East and West 

Intimate Glimpses of the Film Folk 



38 



Close-Ups and Long Shots Herbert Howe 40 

A Broadside of Witty Comment on Screen Personalities 

Drawings by Ralph Barton 

"The Ten Commandments" James R. Quirk 42 

An Appreciation of Cecil De Mille's Great Picture 

Rotogravure : 43 

Barbara La Marr, Baby Peggy, Mary Philbin, Mae 
Murray, Thomas Meighan, D. W. Griffith, Jobyna 
Ralston, Pola Negri 



Questions and Answers 

Friendly Advice 

The Department of Personal Service 



50 



The Girl with Hypnotic Eyes Bland Johaneson 54 

What Is the Strange Power That Sylvia Breamer Exercises? 

A Modern Living Room, Italian in Spirit William J. Moll 56 

How to Decorate a Room in the Italian Renaissance Style at 
Moderate Expense 

The Romantic History of the Motion Picture 

Terry Ramsaye 58 
Chapter XXIII: When Gunmen Were on the Studio Pay- Rolls 

Not in the Scenario (Fiction) 

Kathrene and Robert Pinkerton 60 

The Conclusion of this Exciting Serial Story of a Film Company 
on Location 

Drawings by R. Van Buren 

The Shadow Stage 62 

The Department of Practical Screen Criticism 

The Man from the Mob 66 

How Rex Ingram Picked Ramon Novarro for Fame 

Rotogravure : 67 

Mildred Harris, Malcolm McGregor, George O'Hara, 
Ralph Graves, Rod La Roque, Allan Simpson, Monte 
Blue, Edward Burns, Glenn Hunter, Leatrice Joy 



Cal York 71 



What the Prize Winners Will Do with Their Winnings 76 

A Further Report en the Cut Puzzle Contest 

What an Unknown Author Can Do (Photographs) 78 

A New Writer Steps to the Front with "Judgment of the Storm" 

What They Were (Photographs) 81 

Four Famous Ones of the Film in Other Days 

Mickey Bennett, the New Kid 82 

East Side, New York, Sends Forth Its Film Champion 

The Newest and the Smartest Thing in Shoes (Photographs) 84 
Something to Interest Every Woman 



The Answer Man 87 
Carolyn Van Wyck 104 



Is Matrimony 

a Failure 
in Hollywood? 

Judging from the reams of 
scandal that have been printed 
about the motion picture people, 
there is no such thing as a happy 
married couple in Hollywood. 
Everyone is divorced or about to 
be. Marriage certificates are 
worth about as much as German 
marks. But it really isn't so. 
Adela Rogers St. Johns, who 
knows more picture people than 
anyone else in California, has 
taken up the cudgels in justice 
to those of her friends in the pro- 
fession who have not been touched 
by scandal — and whose names do 
not appear in the scandal pub- 
lications because of that. Con- 
sidering the mass of nauseous 
matter which has been published 
about the people in the picture 
industry, her article is truly 
surprising and decidedly fair. 

Beautiful 
and Good 

It is a saying in Hollywood 
that when Lois Wilson leaves the 
Western studios for the East, 
Hollywood's moral thermometer 
takes a sudden drop. She is the 
shining example of goodness to 
whom the motion picture people 
point when some reformer dis- 
covers that the industry is 
honeycombed with wickedness. 
But, in reality, Lois Wilson is 
very much a regular person. 
Her reputation for saintliness is 
hard to live up to, she says. And 
in the March issue of Photoplay 
she tells how she acquired it and 
just what it means to her. 

Pola Negri's 
Autobiography 

Pola Negri's amazing story of 
her life is continued in Photo- 
play for March. In the coming 
instalment she tells how she 
met Count Dombski, whom she 
married, of her first meeting with 
Charlie Chaplin, and of her suc- 
cess in "Sumurun" in Berlin 
under the direction ot Reinhardt. 
It is a remarkably interesting 
document, and reveals as noth- 
ing else could the real Pola Negri. 



Addresses of (lie leading motion picture studios 
will be found on page 140 



Remember — in March 

PHOTOPLAY 

Out February 15 



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Photoplay Magazine Advertising Section 




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Brief Reviews of Current Pictures 



ACQUITTAL, THE— Universal.— One of the best 
mystery photoplays of the year. (January.) 

ALIAS THE NlGHT WIND— Fox.— A man un- 
justly accused, vanishes. He has many hairbreadth 
escapes, and is finally captured by the blonde girl 
detective. (October.) 

ANNA CHRISTIE— First National.— A faithful 
adaptation of Eugene O'Neill's famous play, splen- 
didly acted. A little too strong for the children. 
(January.) 

APRIL SHOWERS— Preferred.— Colleen Moore 
and Kenneth Harlan in a picture filled with old ma- 
terial. ( November.) 

ASHES OF VENGEANCE— First National.— One 
of the first — and best — of the costume pictures. 
Norma Talmadge and Conway Tearle excellent. 
Should not be missed. (October.) 

BAD MAN, THE — First National.— Holbrook 
Blinn is as delightful in the picture as in the stage 
version. (December.) 

BAREFOOT BOY, THE— Commonwealth.— A 
touching and well done piece of work. Lots of good 
touches, and pathos well put over. (January.) 

BIG DAN — Fox. — A stereotyped story with a hero 
altogether too good to be true. (January.) 

BILL — Paramount. — Not a story, but a wonderful 
study of a Paris pushcart peddler, done by Maurice 
Feraudy. Very much worth while. (November.) 

BLACK SHADOWS— Pathe.— A clever mixture 
of entertainment and instruction. Views of the 
strange people of the South Seas. (October.) 

BLINKY— Universal. — The best picture Hoot 
Gibson has had. Lots of fun. (November.) 

BLOW YOUR OWN HORN— F. B. O— A ma- 
chine-made story which turns into a picture of the 
same type. (January.) 

BLUEBEARD'S EIGHTH WIFE— Paramount.— 
I Uglily sophisticated and good entertainment with 
Gloria Swanson wearing gorgeous clothes. (October.) 

BOSTON BLACKIE— Fox.— The inside of the 
world's most disagreeable prison, with a happy end- 
ing. (.August.) 

BRASS BOTTLE, THE— First National.— A fan- 
tastic picture, amusing and well done. The Oriental 
prologue is especially fine. (October.) 

BROADWAY GOLD— Truart — A formula pic- 
ture of the good little chorus girl, forced into marriage 
with a dying rich num. (October.) 

BROKEN WING. THE;— Preferred.— A story of 
Mexico and .in American aviator who crashes through 
a roof into the arms of a pretty girl. Moves rapidly. 
(September.) 

BURNING WORDS— Universal.— The Canadian 
Mounted, and a trooper who gets his man. (August.) 

GALL OF THE WILD, THE— Pathe.— A dog 
star. Huck, a beautiful St. Bernard, acts in a way that 

should shame a lot of humans. Fine For the family, 
{December.) 

GAMEO KIRBY — Fox. — A charming romance of 
the old Mississippi river boats, well told and well 
directed. (December.) 

CHAPTER, IN HER LIFE, A— Universal— A 
child heroine is always abused and misunderstood, 

but sweetly forgiving. Rather saccharine. (.No- 
vember.) 

CHEAT, THE— Paramount.— Pola Negri in a 

tragic 3tory that starts slowly, but gains in interest. 

]\i~[ misses being a big picture. (November.) 

CHILDREN OF DUST— First National— A 
pleasant little story of old Gramercy Square, but 
with too much childish love-making. (August.) 



CHILDREN OF JAZZ — Paramount. — A fast 
story, unique plot, quaint costumes and delightful 
photography. (September.) 

CIRCUS DAYS— First National.— Jackie Coo- 
gan's new one. This shows the lovable boy star at his 
best and funniest. (September.) 

CLEAN-UP, THE — Universal.— What Acton 
Da vies, once a famous dramatic reviewer, used to call 
"another one of those things." (November.) 

COMMON LAW, THE— Selznick.— The cast 
saves this one from utter mediocrity. (January.) 

COUNTRY KID, THE— Warner Brothers.— An 

old-fashioned picture with Wesley Barry as the oldest 
of three orphans, being parents to the other two. 
(January.) 



AS a special service to its readers, 
Photoplay Magazine inaug- 
urated this department of tab- 
loid reviews, presenting in brief form 
critical comments upon all photoplays 
of the preceding six months. 

Photoplay readers find this depart- 
ment of tremendous help — for it is an 
authoritative and accurate summary, 
told in a few words, of all current film 
dramas. 

Photoplay has always been first 
and foremost in its film reviews. 
However, the fact that most photo- 
plays do not reach the great majority 
of the country's screen theaters until 
months later, has been a manifest 
drawback. This department over- 
comes this — and shows you accurately 
and concisely how to save your mo 
tion picture time and money. 

You can determine at a glance 
whether or not your promised eve- 
ning's entertainment is worth while. 
The month at the end of each tabloid 
indicates the issue of Photoplay in 
which the original review appeared. 



CROOKED ALLEY— Universal.-— Another Bos- 
ton Blackie story, but not particularly well done. 
(January.) 

CUCKOO'S SECRET, THE— Bray.— They say it 
took ten years to get this picture of the World's laziest 
bird. It is interesting and instructive. {September.) 

DANCER OF THE NILE, THE— F. B. 0.— One 
of William F S Lari s expenmentc with pamt-.-d sits 

and interesting on that account. Story and acting 
not much. (December.) 

DARLING OF NEW YORK, THE— Universal.— 

Baby Peggy the delightful center of a plot which 
deals with crooks, stolen jewels and a lost child. 
(January.) 

DAUGHTERS OF THE RICH — Preferred. — 

High society, American heiress, decadent Russian 
duke and so on. Some novelty, but not much punch. 
(September.) 

DAVID COPPERFIELD— Associated Exhibitors. 
— A Swedish production and a good one of the 

Dickens story. (January.) 

DAYS OF DANIEL BOONE. THE— Universal.— 

A serial with much interesting and historical value. 
Plenty of adventure and with many surprisingly real 
characters. (September.) 



DAYTIME WIVES— F. B. O.— An amusing pic- 
ture that glorifies the good little stenogragher. Some- 
what preachy. (November.) 

DESERT DRIVEN— F. B. O— The best picture 
Harry Carey has made for a long time. It starts in 
prison and ends in the desert. (September.) 

DESIRE — Metro. — Emotional drama, stating that 
in love extremes may meet. Good cast quite thrown 
away. ( November.) 

DESTROYING .ANGEL, THE— Asso. Exhibitors. 
— Leah Baird in a picture that is frankly "movie 
stuff." (November.) 

DEVIL'S PARTNER, THE — Independent. — 
Absurd and artificial melodrama of the Great North- 
west. Unimportant. (December.) 

DIVORCE— F. B. O.— Jane Novak is so beautiful. 
in this, that nothing else matters. Not even the plot. 
(^1 ugusl.) 

DOES IT PAY?— Fox.— Hone Hampton as a 
vampire who grabs all the valuables in sight. It 
won't do for the children. (November.) 

DON OUICKSHOT OF THE RIO GRANDE— 

Universal. — A western that should have been a com- 
edy. The small boy's delight. (August.) 

DON'T MARRY FOR MONEY— Apollo.— Still 
the formula — and this time an old one. Just a pro- 
gramme film. (October.) 

DRIFTING — Universal. — Lots of excitement in 
this thriller, with Priscilla Dean playing a vivid demi- 
mondaine. (November.) 

DRIVIN* FOOL. THE— Hodkinson.— Wally Van 
in one of the auto-driving pictures that Wally Reid 
made famous. (January.) 

DULCY — First National. — A stupid picture from a 
most amusing play. Showing the futility of trying to 
make a picture from conversation. [.November.) 

EAGLE'S FEATHER, THE— Metro.— An inter- 
esting Western, somewhat marred by a straining for 
the "Happy ending." Worth seeing. (November.) 

ELEVENTH HOUR. THE— Fox.— Roaring melo- 
drama for the youngsters. (October.) 

ETERNAL CITY, THE— First National.— One of 
the most beautiful and entertaining pictures in 
months. (January.") 

ETERNAL STRUGGLE. THE — Metro. —A 

Northwest picture with Renee Adoree featured and 
justly so. Excellent. (November.) 

ETERNAL THREE. THE— Goldwyn.— Not a 
great picture, but wortli while because of Marshall 
Neilan's production. (Decent 

EXCITERS. THE— Paramount.— A jazzy little 
comedy-melodrama with plenty of action and speed. 
(.1 ugusl.) 

FAIR CHEAT. THE— F. B. O.— Rather hack- 
neyed story, with chorus girl as heroine. Just so-so. 
( November.) 

FIGHTING BLADE, THE — First National.— 
Richard Bartheliness as a Cromwellian hero. A 
pretty good picture, but by no means one of his best. 

(/><-, ember.) 

FIGHTING BLOOD— (Second Series>— F. B. O. 
— Prise tight stuff, with a new and blonde leading 
woman for the O'Hara boy. {.October.) 

FIGHTING STRAIN. THE— Steiner.— Badly 
written, acted and produced. ( November.) 

FLAMING YOUTH— First National— A sophis- 
ticated ultr.i-i.i/z picture, with Colleen Moore doing 
about the best acting of her career. (January.) 

FLYING DUTCHMAN, THE— F. B. O.— An un- 
usual picture which follows very closely the Wag- 
nerian opera ol that name. (October.) 

[ CONTINUED ON PAGE IO ] 



Photoplay Magazini Advertising Section 



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Brief Review's of Current Pictures 

[ CONTINUED FROH'PAGE 8] 



FOG, THE — Metro. — A story of small-town ethics 
with the "how his soul was saved" angle played up. 

(September.) 

FOG BOUND— Paramount. — One of the formulas. 
Innocent man accused — lovely lady saves him. Good 
cast, fine photography. (August.) 

FOOLISH PARENTS— Associated Exhibitors.— 
The moral of this is that marriage is a great institu- 
tion and should be in every family. Formula stuff. 

'January.) 

FORBIDDEN LOVER, THE — Selznick. — A 
"thriller" of the early Spanish days in California 
with the usual ingredients. 'January.) 

FORGIVE AND FORGET— Apollo.— The banal 
title is the worst thing about this picture. It's an 
effective melodrama, well acted and well directed. 
(December.) 

FRENCH DOLL, THE— Metro.— Mae Murray in 
a typical Mae Murray picture — legs, lingerie and lure. 
( November.) 

GARRISON'S FINISH— United Artiscs.— The 
old race track story, with the Southern colonel, the 
doped horse 'n' everything. Jack Pickford has the 
lead. (August.) 

GENTLEMAN OF LEISURE, A— Paramount.— 
The story drags at the start, but picks up speed and 
becomes rapid and interesting. Above the average. 
(October.) 

GIRL FROM THE WEST, THE — Aywon. — 

Commonplace and inane imitation of "Merton." A 
waste of time. (December.) 

GIRL OF THE GOLDEN WEST, THE— First 
National. — Another return engagement, but the fine 
old story marred by difficulties of casting. Warren 
Kerrigan and Sylvia Breamer the leads. (August.) 

GOING UP— Associated Exhibitors. — One of the 
most amusing of recent comedies, with Douglas Mac- 
Lean at his best. Laughs for the family. (December.) 

GOLD DIGGERS, THE— Warner Brothers- 
Sophisticated photodrama of New York. Chorus 
girls and their admirers not so black as usually 
painted. (November.) 

GOLD MADNESS — Renown. — A verbose and 
cloudy piece of work, with Guy Bates Post as star. 
(December.) 

GRAIL, THE — Fox.— A well made and well 
played picture, but somewhat lacking in plot. It's 
more or less of a Western. ( November.) 

GREEN GODDESS, THE— Distinctive.— George 
Arliss in a screen version of his famous play, which is 
as good as the stage version. (October.) 

GUN FIGHTER, THE— Fox.— A feud picture 
with William Farnum in the midst of it, enjoying him- 
self thoroughly. (November.) 

HALDANE OF THE SECRET SERVICE — 

Apollo. — Houdini as a detective cleaning up a gang of 
counterfeiters. Amateurish, but with some good 
Houdini stunts. (December.) 

HEART RAIDER, THE— Paramount.— J azzy 
and often amusing, with Agnes Ayrcs setting the 
pace. (August.) 

HELD TO ANSWER— Metro.— A formula pic- 
ture, featuring a wrongfully-accused minister. (Jan- 
uary.) 

HELL'S HOLE — Fox.— Straight Western melo- 
drama with Lefty Flynn and Charles Jones as cow- 
puncher buddies. Excitement is fast and furious. 
(October.) 

HIGH LIFE — Educational. — A Mermaid comedy 
with Lige Conley starred. A lot of old tricks. (. No- 
vember.) 

HIS CHILDREN'S CHILDREN— Paramount. — 
Another lesson about the fast-stepping younger gen- 
eration. Well worth while. (January.) 

HIS LAST RACE— Phil Goldstone.— Robert 

MeKim as B most villainous villain in a Bertha M. 

Clay story. Full of "movie stuff." {Norn 

HOMEWARD BOUND— Paramount — Thomas 
Meighan as a salty hero in a lot oi storms. Story is 

unconvincing and commonplace. (October.) 

HOLLYWOOD— Paramount. — Dozens of the pic- 
ture stars shown unconventionally to prove they are 
iust humans after all. A rattling good picture. 
I I, -her.) 

HUMAN WRECKAGE— F. B. O.— Mrs. Wallace 
Roid's lihn protest against the drug evil, Not a 
cheery story, hut one that will touch the heart and 
may ^\o an immense amount oi zooA. (September.) 

Brery advertisement In PHOTOPLAY M v<" IZINE la guaranteed. 



HUNCHBACK OF NOTRE DAME, THE— Uni- 
versal. — A magnificent screen spectacle, with Lon 
Chaney, in the title role. A picture of a class seldom 
equalled. ( November.) 

HUNTRESS, THE— First National.— A very good 
entertainment, with plenty of comedy and excite- 
ment. Colleen Moore fine in title role. (December.) 

IF WINTER COMES— Fox.— A remarkably fine 
piece of work, but brimming with tears. It follows 
the Hutchinson novel closely, and Percy Marmont as 
Mark Sabre does the best acting of his notable career. 
( November.) 

IN SEARCH OF A THRILL— Metro.— Viola 
Dana as a little rich girl wants to see life and becomes 
an Apache in Paris. (January.) 

IS CONAN DOYLE RIGHT?— Rathe.— A pic- 
torial expose of the tricks of the fake spiritualistic 
mediums, more effective than the many which have 
been made in type. (December.) 

ITCHING PALMS— F. B. O.— Melodrama, stupid 
and badly told. (September.) 

KNOCK AT THE DOOR, A— Johnnie Walker.— 
The film lasts one hour and ends just where it begaD. 
( Nove mber.) 

LAWFUL LARCENY— Paramount.— Most of the 
interest is in the production which is extremely lavish. 
Story is weak. Fairly good entertainment. (October.) 

LAW OF THE LAWLESS, THE— Paramount.— 
A colorful drama of the gypsy borderland between 
Asia and Europe, with Dorothy Dalton and Charles 
De Roche in suitable roles. (September.) 

LEAVENWORTH CASE, THE— Yitagraph.— A 
poor adaptation of a famous old best-seller. A mys- 
tery story' without mystery. (January.) 

LEGALLY* DEAD — Universal. — Theatrically un- 
leavened, with adrenalin used to bring a dead man 
back to life. (October.)' 

LIGHTS OUT— F. B. O.— A melodrama of the 
underworld and motion pictures with a clever idea 
and a lot of suspense. Worth seeing. (December.) 

LITTLE JOHNNY JONES— Warner Brothers- 
Johnny Hines is very good in this George M. Cohan 
success. Realistic sets and a good horse race. (Oc- 

tober.) 

LITTLE OLD NEW YORK— Cosmopolitan.— A 
charming picture with Marion Davies doing the best 
acting of her career. (October.) 

LONE RANGER. THE— Aywon.— Again the 
Texas Ranger is sent to get his man and gets him. 
(January.) 

LONE STAR RANGER, THE— Fox.— Tom Mix 
and Tony, his horse, have a lot more adventures, 
defying a great deal of death. (November.) 

LONG LIVE THE KING— Metro.— The King is 
Jackie Coogan and this is one of the best things he 
ever has done. (January.) 

LOST IN A BIG CITY— Arrow.— Action all the 
time. The story doesn't amount to much, but there 
is so much going on. you don't mind that. (October.) 

LOVE BRAND. THE — Universal. — Spanish ranch 
owner, .cans oi crooked capitalists, beautiful daughter 
of rich man loves rancher, and plot fails. {.October.) 

LOVE PIKER, THE — Cosmopolitan-Goldwyn. — 
Anita Stewart in the old tale of the girl who loves her 
father's employee. A good story. (September.) 

LOVE TRAP. THE— Apollo.— -Melodrama filled 
with complications, detectives and dictaphones. Good 
idea, but hurt by not holding to main theme. (De- 
cember.) 

LOYAL LIVES — Yitagraph. — Propaganda for the 

letter carrier. A simple story, filled with pleasant 
hokum and kindly folk. (October.) 

MAIN STREET— Warner Brothers.— A difficult 
story to screen and. therefore, not an entirely satis- 
factory picture. Florence Yidor the great redeeming 
feature. (AagHSf.) 

M \\ NEXT DOOR. THE— Yitagraph.— Not 
good. Story is illogical, and acting and direction both 
below standard. (AugUSU) 

MAN OF ACTION, A— First National.— Likable 
Douglas Mad can as B society man playing a crook. 
Interesting, but incongruous. (August^) 

MARK OF THE BEAST, THE— Dixon — 

Thomas Dixon wrote, cast and directed this as a 
challenge to "machine-made pictures." The machine 
wins. (August.) 

[ CONTINUED OX PAGE 12 1 



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Brief Reviews 
of Current Pictures 



[COXTINLLD FROM PAGE IO ] 

MARRIAGE MAKER, THE— Paramount.— The 
story is based on "The Faun." Fantastic and quite 
interesting. {December.) 

MARY OF THE MOVIES— F. B. O.— Again tie 
Hollywood stars trailing by in a story of a screen- 
struck girl. That is the only interest. [August.) 

McGUIRE OF THE MOUNTED— Universal — 

Another Northwest Mounted Police story, with the 
usual dauntless hero. Plenty of action. (September.) 

MEN IN THE RAW— Universal.— A formula pic- 
ture. Heart-of-gold cowboy, "little prairie flower." 
cattle rustlers and the rest. Jack Hoxie rides well. 
(January.) 

MERRY-GO-ROUND— Universal.— One of the 

best pictures in months. A Viennese story, with the 
atmosphere capitally maintained, and exceptionally 
well acted. (September.) 

MICHAEL O'HALLORAN — Hodkinson. — The 
too-sweet story of a Chesterfieldian street urchin, 
who shows a lot of rich folk how to behave. (A ugust.) 

MIDNIGHT ALARM, THE— Yitagraph.— Plen- 
ty of action but not the slightest probability. Every- 
thing happens. (November.) 

MILLION TO BURN, A— Universal.— An amus- 
ing picture without much probability. (January.) 

MIRACLE BABY, THE— F. B. O.— Not much 
miracle, but a nice baby. Harry Carey up in the gold 
mines. Formula again. (October.) 

MONKEY'S PAW, THE— Selznick — An intelli- 
gent piece of work by a producer who has a real idea 
and who sticks to it. thereby deserving praise. Worth 
seeing. (January.) 

•w 

MODERN MATRIMONY'— Select.— A common- 
place plot filled with homely sentiment. Just in- 
nocuous. (January.) 

MONNA VANNA — Fox. — Would have been better 
if not so heavy. Crowd scenes are well done, and Lee 
Parry in title role is charming. Only fair. (December.) 

MOTHERS-IN-LAW — C.asnier. — Many dresses 
cut short, top and bottom, jazz parties, lots of glitter 
— the usual thing. (October.) 

MYSTERIOUS WITNESS. THE— F. B. O — 

More formula stuff. The sweet and ailing mother, 
the self-sacrificing son and the rest of it. (September.) 

ON THE BANKS OF THE WABASH— Vita- 
graph. — A fine cast miscast and wasted on a weak 
plot and poor direction. (January.) 

ONLY 38 — Paramount. — A delightful handling by 
William de Mille of a most appealing story. Lois 
Wilson's role fits her admirably. (August.) 

OUR HOSPITALITY— Metro— Buster Keaton 
in what seems to be a travesty on the old feud story. 
Not very good or funny. (January.) 

OUT OF LUCK — Universal. — Hoot Gibson as a 
young cowpuncher transferred to the navy creates a 
jot of fun. (October.) 

PENROD AND SAM— First National. — One of 
the entertainment gems of the month. Real boys 
with a story handled by William Baudine. (August.) 

PETER THE GREAT — Paramount. — Another 
foreign film, with that truly great actor. Emil Jen- 
nings, in the title role. This is a real picture. (Sep- 
timber.) 

PLEASURE MAD — Metro. — Just misses being a 
big picture, but is worth while. (January.) 

POLIKUSCHKA— Russian Art films. — A well 
made picture, but morbid and sad. No chance for a 
pleasant evening of laughter here. (December.) 

PONJOLA — First National. — An interesting and 
thrilling narrative of the African gold fields with Anna 
0. Nilsson giving a startlingly good performance as a 
boy. (January.) 

POTASH AND PERLMUTTER— First National. 
— As funny on the screen as on the stage, with Barney 
Bernard and Alex Carr in their original roles. {No- 
mwtsr.) 

POWER DIVINE, THE— Independent. — Another 
Kcntuckv feud, proving that where there's love 
there's hope. ( November.) 

PURITAN PASSIONS— Hodkinson.— A screen 
version of "The Scarecrow." delicate and fanciful. 
A charming production. ( A'orrmficr.1 

[ CONTINUED ON PAGE l6 ] 



Rrery advertisement in piiotoft.ay maoazixf. is guaranteed. 



Photoplai Ma(.\/im Adm it iimnq Section 



1 J 




Elinor Glyn Dares to Tell 
the Truth About Marriage 

ELINOR GLYN, FAMOUS AUTHOR OF "THREE WEEKS," HAS 
WRITTEN A WONDERFUL BOOK THAT SHOULD BE READ BY EVERY 
MAN AND WOMAN— MARRIED OR SINGLE. "THE PHILOSOPHY 
OF LOVE" IS NOT A NOVEL— IT IS A HELPFUL SOLUTION OF THOSE 
PROBLEMS OF LOVE AND MARRIAGE ABOUT WHICH MOST OF 
US KNOW SO LITTLE AND CONCERNING WHICH WE SHOULD BE 
SO WELL INFORMED. READ BELOW HOW YOU CAN GET THIS 
THRILLING BOOK AT OUR RISK— WITHOUT ADVANCING A PENNY. 



YyiLL you marry the man you 
love, or will you take the one 
you can get? 

If a husband stops loving his wife, 
or becomes infatuated with another 
who is to blame — the hus- 



wife, or the "other 



woman, 
band, the 
woman? " 

Will you win the girl you want, 
or will Fate select your Mate? 

Will you be able to hold the love 
of the one you cherish — or will your 
marriage end in divorce? 

Do you know how to make people 
like you? 

TF you can answer the above ques- 
tions — if you know all there is to 
know about winning a woman's 
heart or holding a man's affection — 
you don't need "The Philosophy of 
Love." But if you are in doubt — if 
you don't know just how to handle 
your husband, or please your wife, 
or win the devotion of the one you 
care for — then you must get this 
wonderful book. You can't afford 
to take chances with your happiness. 



What Do YOU Know 
About Love? 

DO you know how to win the one you 
love? Why do husbands often grow 
increasingly indifferent even though their 
wives strive tirelessly to please them? Why 
do some men antagonize women, finding 
themselves beating against a stone wall in 
affairs of love? When is it dangerous to 
disregard convention? Do you know how 
to curb a headstrong man, or are you the 
victim of men's whims? 

Do you know how to retain a man's 
affection always? How to attract men? 
Do you know the things that most irritate a 
man? Or disgust a woman? Can you tell 
when a man really loves you — or must you 
take his word for it? Do you know what 
you MUST NOT DO unless you want to 
be a "wall flower" or an "old maid"? Do 
you know the little things that make women 
like you? Why do "wonderful lovers" 
often become thoughtless husbands soon 
after marriage — and how can the wife 
prevent it? Do you know how to make 
marriage a perpetual honeymoon? 

In "The Philosophy of Love," Elinor Glyn 
courageously solves the most vital problems 
of love and marriage. Her book will thrill 
you as you have never been thrilled before. 
It may also upset some of your pet notions 
about love and marriage. But it will set 



What Every Man and 
Woman Should Know 



IliiW III Mill till- Iliilll 

sun lava 

llim III Hill t In- gll 

■ .nil 

bow I" lie. Id your Iium- 

band'i love 

DOM In niaki- [M-<>|ili- 

admire you 

why " petting pai I 

I' irlly 

for Inn- love 
w hy many mai 
end in daapalr 
how to hold a vromajTa 

ill. I I lull 

how to keel 

. IkllltM 

Ihlnga thai i in ii nun 
against you 

how in make marriage 
a perpetual honey- 
moon 

the "danger year" of 
mam. (I 



how lo i, 

how to l.i tip II flaming 

i.ow I., rekindle u if 
I. mill out 

[if w Ith 1 In 

"hunting uiaUnet" in 
men 

in annul i 

von Uke, 

mi-h ami 

women are aiw a 

ai.ii i age 

■ a hi n-al 

groundi for divorcer 

how to tell if aomeone 
really lovet von 
thlngi that muke a 
woman "cheap" or 

"common. 1- 



you right about these precious things and 
you will lie bound to adxnil that .Madame 
Glyn, who has made a hie study of lore. 

has written the most amazingly truthful 
and the most downright helpful volume 
ever penned. She wains you gravely, she 
suggests wisely, she explains fully. 

We admit that the book is decidedly daring. It had 

to be. A book of this type, to be of real value, could 
not mince words. Every problem hud to be fared 
with utter honesty, deep atnoeritj . and resolute <(.ur- 
uye. Hut while Madame Glyn calls a spude a spade, 
while she deals with strong emotions in her frank, 
fearless manner, she nevertheless handles her subject 
so tenderly and sacredly that the book can safely 
be read by any man or woman. 

Certain shallow-minded persons may critirsie 
"The Philosophy of Love." Anything of such an 
unusual character generally is. But Madame Glyn 
is content to rest her world-wide reputation on this 
book — the greatest masterpiece of lovee> er attempted! 

SEND NO MONEY 

YOU need not advance a single penny for "The 
Philosophy of Love." Simply fill out the cou- 
pon below — or write a letter — and the book will be 
sent in plain wrapper on opproval. When the post- 
man delivers the book to your door — when it is 
actually in your hands — pay him only $1.98, plus 
a few pennies postage, and the book is yours. Go 
over it to your heart's content — read it from cover 
to cover — and if you are not more than pleased, 
simply send the book back in good condition within 
five days and your money will be refunded instantly. 

Over 75,000,000 people have read Elinor Glyn's 
stories or have seen them in movies. Her books sell 
like magic. "The Philosophy of Love" is the su- 
preme culmination of her brilliant career. It is des- 
tined to sell in huge quantities. Everybody will 
talk about it everywhere. So it will be exceedingly 
difficult to keep the book in print. It is possible 
that the present edition may be exhausted, and you 
may be compelled to wait for your copy, unless you 
mail the coupon below AT ONCE. We do not say 
this to hurry you — it is the truth. 

Get your pencil — fill out the coupon below. Mail 
it to The Authors' Press, Auburn, X. V., before it 
is too late. Then be prepared for the greatest thrill 
of your life! 



The Authors' Press, Dept. 425. Auhurn, N. Y. 

Please send me on approval Elinor Glyn's master- 
piece. "The Philosophy of Love." When the post- 
man delivers the book to my door, I will pay him 
only SI. 98. plus a few pennies postage. It Is under- 
stood, however, that this Is not to be considered a 
purchase. If the book does not in every' way come 
up to expeciatlons. I reserve the right to return n 
any time within live days after ii Is received, and 
you agree to refund my money. 



De Luxe Leather Edition — We have prepared a Limited Edi- 
tion, handsomely bound in Royal Blue Genuine Leather and 
lettered in Gold, with Gold Tope and Blue Silk Markers. No 
expense spared — makes a sorccoua sift. If you prefer thi 
leather edition — as most people do — simply ncn belo ' 
place a croon in the little square at the right. 



poet' 



peopw 

,.. t square 
nly $2 OS plus postage. 



. and pay 



-.frr I!..- 
,h.|_| 



City and State 

IMPORTANT -If it in possible that you may not b« at home 
when the postman calis. send cash in advance. Alao If you 
reside outside the U S. A., payment must be made In ad- 
vance. Retrular Edition $2.12. Leather Edition (3.12. Casb 
with coupon. 



When you wnte to advertisers please mention PHOTOPLAY MAGAZINE. 



The Aristocrat 

Klniira, New York. 
Editor Photoplay Magazine, 
New York City. 

Dear Sir: "Brickbats and Bouquets'' will, 
perhaps, give me an opportunity to say some- 
thing of the rather unjust criticism of Monsieur 
Charles Ue Roche in the November issue of 
Photoplay. 

I agree with the writer that Monsieur 
Valentino is good looking as well as an exceed- 
ingly good actor, but he is by no means perfect ! 

Monsieur De Roche's profile is not terrible. 
It shows unusual strength of character and 
his features are the thin, high bred features of 
the aristocrat. 

Vista S. Cochrane. 

A Comparison 

The "Walbert Apts., 

Baltimore, Md. 
Editor Photoplay Magazine, 
New York City. 

Dear Sir: Seeing Reginald Denny for the 
first time after seeing Rodolph Valentino is 
like coming out of a room in one of those old 
Moorish palaces one sees in Algiers — a room 
richly colored, whose hanging bronze lamps 
make it glow like a jewel; a room heavy with 
the scents of the East, spices, musk, and amber- 
gris, and the black incense, that comes from 
Tomboucton. You open the door, you step 
out, and before you lies the blue ocean, 
sparkling in the sunlight. The salt spray 
strikes your cheek and you draw in deep 
breaths of the strong sea breeze. I do not 
mean that you never want to go back into that 
beautiful room, its spell is a powerful one and 
you do go back; but, how nice the crisp air 
feels outside! Reginald Denny is something 
new. He has that ingenious charm that was 
Wallace Reid's, he is full of a healthy vitality, 
and he has an appeal as potent as that of 
Valentino. He also can act — in spite of 
having a body like a Greek marble. 

X. z. z. 

A Direct Answer 

Culver City, Calif. 
Editor Photoplay Magazine, 
New York City. 

Dear Sir: In answer to Mrs. Ramon 
Jamerson, Photoplay of October! 

A genius, whether in literature, the theater 
or on the screen, should be judged by the qual- 
ity of his work and by nothing else. Surely 
Alary Pickford, because of her ability as an 
actress, deserves to be classed as one of the 
famous women of the world. 

Furthermore, if more people cared as much 
for their families, and did proportionately as 
much for them as Mary does, the poorhouses 
in the country would be empty. 

And again, might not this be triu — because 
Mary doesn't "make copy" of her charities, 
have we any proof they do not exist? 

M. \Y. D. 

Norma's Generosity 

Oklahoma City, Oklahoma. 
Editor Photoplay Magazine, 
New York City. 

Dear Sir: "Ashes of Vengeance" was 
shown here last week. 1 liked the picture very 
much. There was Wallace Beery as the 
cowardly, sneaking, domineering Ducde Tours. 
"Whose only claim to invade society was the 
accident of birth." Then there was Norma 
Talmadge, the lady as Yoeland de Breaux, and 
Conway Tearle as Rupert de Vrieac, the hero. 
These three alone would make a good picture, 

This picture was advertised as Norma Tal- 
madge's production with Miss Talmadge as 
the star — how funny! If the story had de- 
pended on its star, then, it would have been 
a third over before it commenced. 

r, 



Brickbats 
Bouquets 

LETTERS 
FROM READERS 



The readers of Photoplay are 
invited to write this department 
— to register complaints or com- 
pliments — to tell just what they 
think of pictures and players. 
We suggest that you express your 
ideas as briefly as possible and 
refrain from severe personal crit- 
icism, remembering that the 
object of these columns is to ex- 
change thoughts that may bring 
about better pictures and better 
acting. Be constructive. We may 
not agree with the sentiments ex- 
pressed, but we'll publish them 
just the same! Letters should not 
exceed 200 words and should bear 
thewr iter's full name and address. 



What I mean to say is, that Yoeland de 
Breaux was only an incident in the story, while 
Rupert de Vrieac was the center of the picture. 
Not a move was made but that it had some 
distinct bearing on the action of Rupert. If 
Miss Talmadge was the star, then her leading 
man ran away with the picture, and outplayed 
the stellar role. 

I do not wish to discount Miss Talmadge as 
a star, for she is one. and rightly so, but this 
picture does not seem to be hers, but Conway 
Tearle's. 

E. E. 

Filling His Own Place 

Pittsburg. California. 
Editor Photoplay Magazine, 
New York City. 

Dear Sir: I want to say a word of praise 
for Charles De Roche. I thought he was 
wonderful in "The Cheat," as did several o\ 
my girl friends. As for his taking Valentino's 
place, I should say not! He has a place on 
the screen all his own. May we see more of 
him. He is my favorite from now on. 

Edyth Dp. vper. 

Francis and Beverly — Their 
Letter 

EDITOR Photoplay MAGAZINE, 
New York City. 

Dear Sir: I am so glad my Idols, the Bush- 
mans, are back! 1 have just read the criticism 
of their production, "Modern Marriage." in 
PHOTOPLAY. 1 am anxious to see it as it is 
over two years since a production by them was 
shown here. 

Mr. and Mrs. Bushman, Francis and Bever- 
ly, have been my favorites for over six years 
and I am proud of this saying as they have 
given me so much happiness I 



I have seen all their productions shown here, 
namely: "The Great Secret." that divine 
serial; "Romeo and Juliet." which I have 
seen fifteen times: " Graustark, " "My Old 
Girl," which made me shed real tears; "Red. 
White and Blue Blood." "Under Suspicion." 
"Social Quicksands." "Pennington's Choice." 
"The Adopted Son." "A Man and His Soul." 
"The Hired Thief." "The Noble Impostor." 
"The Poor Rich Man," "The Brass Check. " 
"Their Compact." and "A Pair of Cupids." I 
have seen all of these many times! 

Won't you publish pictures of them in the 
future in Photoplay, as well as of their lovely 
baby Richard? 

Jose Maldonado. 

Local Busybodies 

Scranton, Pa. 
Editor Photoplay Magazine, 
New York City. 

Dear Sir: Not many weeks ago I picked up 
the Sunday paper and, in looking over the 
theatrical news, I saw that D. W. Griffith's 
picture. "The White Rose." was to be shown 
at the Blank Theater for the entire following 
week. Right then I made up my mind to see 
it. The next day I happened to be in the 
vicinity of the theater so I went in and had a 
pleasant afternoon. 

On the following Thursday I again looked 
through the theatrical notices: the theaters 
usually change their programs on Thursday 
and, to my utter amazement. I saw that the 
bill had been changed at the Blank Theater. 
The new picture announced for the balance 
of the week was "Strangers of the Night." 
Upon making inquiries among my friends, 
managers of other theaters. I was told that a 
few of the local ministers had protested because 
the picture was about a young theological 
student who went wrong. 

My idea in writing this letter is to know if 
we are going to continue allowing local busy- 
bodies to run our picture houses to suit them- 
selves. It seems to me that when a picture 
passes both the national and state hoard of 
censors it should be enough of a recommenda- 
tion. I would like to hear from other readers 
of Photoplay in regard to this indiscriminate 
censoring of pictures. 

" Anthrocitf." 

Dud Movies 

Hawera, New Zealand. 
Editor Photoplay Magazine, 

New York City. 

Dear Sir: What a pity some of the most 
prominent producers in the motion picture 
industry pursue the policy of starring some of 
their most capable players in a succession of 
"program " pictures. 

For instance, why doesn't Carl I.aemmle give 
Gladys Walton a chance? She is a very good 
little actress and 1 am sure she is capable of 
great things if she only had the chance. But 
the "pore gel" is compelled to simp from the 
tip of her toes to breakfast time in even' pic 
cure she appears in. Then there's Alice Cal- 
houn. If she were a tomato, she couldn't be 
treated much worse. As it is. her efforts are 
canned to make a steady production of 
flivvers. These girls are only two of the stars 
who have to satisfy their producers' demands 
by appearing in a steady production of dud 
movies. 

Perhaps it is good money to the producers, 
but they will soon find that the time is coming 
when the fans will become more and more 
discriminating in their choice of entertain- 
ment, and will leave these uninspired pictures 
for ones having stronger stories and good 
direction with casts that are given a chance to 
act instead of being cooped up like chickens in 
a pen ! 

Ronald I. Arthlr. 



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Photoplay Magazine — Advertising Section 




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Brief Reviews of Current Pictures 

[ CONTINUED FKOM PAGE 12 ] 



PURPLE HIGHWAY, THE — Paramount. — 
Rather a silly plot with overdrawn situations. Madge 
Kennedy is sweet as a little housemaid and is mostly 
(October.) 

RAGGED EDGE, THE— Goldwyn.— A Harold 
McGratb romance, with a lot of new blood in the cast. 
From China to the South Seas. (August.) 

RAILROADED— Universal.— A lesson in how 
wayward sons should, and should not, be disciplined. 
(August.) 



Universal. — Another 
and 



RAMBLIN' KID, THE— i 

Hoot Gibson picture, fully up to bis amusing 
interesting standard. (December.) 

RAPIDS, THE — Hodkinson. — A conventional 
story of the building of a town by a man with brains 
and foresight. (September.) 

RED LIGHTS — Goldwyn. — A corking good mys- 
tery picture, rilled with excitement and thrills. 

( November.) 

RED RUSSIA REVEALED— Fox.— Half scenic 
and half educational. Shows the heads of Soviet 
Russia. (September.) 

RICE AND OLD SHOES— F. B. O— A comedy of 
the honeymoon, with all the old situations worked 
overtime. (.1 ugusl.) 

RICHARD THE LION-HEARTED— Associated 

Exhibitors. — Wallace Beery is a two-fisted, meat-eat- 
ing King Richard. The boys will love it. (January.) 

RIGHT OF THE STRONGEST, THE— Zenith. 

— A story of the Alabama hills with E. K. Lincoln in 
the leading role. Good entertainment, with a great 
fight between Lincoln and George Siegmann. (De- 
cember.) 

ROSITA — United Artists.— The picture is as 
dainty and charming as the star — Mary Pickford — 
herself. One of the best. (November.) 

ROUGED LIPS— Metro. — Charming Viola Dana 
as a good little chorus girl is delightful. The picture 
starts slowly, but gather speed. (November.) 

RUGGLES OF RED GAP— Paramount.— A high- 
ly amusing comedy, the locales being a Western 
"cow town" and a Hollywood Paris. (November.) 

RUNNING WILD— Educational.— A comedy film 
built around the game of polo. Hated rivals on 
opposing teams. (November.) 

RUPERT OF HENTZAU— Selznick.— A lively, 
romantic tale, with lots of excitement and thrills, but 
behind its predecessor, "The Prisoner of Zenda." 
(September.) 

SALOMY JANE — Paramount.— Bret Harte's 
famous story made into an ordinary Western. 
Jacqueline Logan makes it worth while. (November.) 

SAWDUST — Universal. — Unconfined realism, 
starting with a circus and ending up in one of those 
palatial homes and an attempted suicide. (September.) 

SECRET OF LIFE, THE— Principal Pictures.— 
The private lives of bees, ants and bugs laid bare by a 
new photographic process. Extremely interesting. 

( November.) 

SECOND-HAND LOVE— Fox— A picture of 
small town life for the small town. Buck Jones in a 
Charles Ray role. (November.) 

SCARAMOUCHE— Metro— One of the great 
pictures of the \ ear. The acting of Lewis Stone and 
Ramon Novarro, and the direction of Rex Ingram 
have turned out a masterpiece. Don't miss it. 
(December.) 

SELF-MADE WIFE, THE— Universal.— Three- 
fourths of this picture is good. The end falls badly. 
(September.) 

SHADOWS OF THE NORTH — Universal. — 
William Desmond as a miner who fights off claim 
jumpers. Happy ending, after a good right. (Do- 
tobir.) 

SHATTERED REPUTATIONS— Lee Bradford. 
— Mediocre picture, artificial and badly acted. 
( November.') 

SHOCK, THE— Universal.— Another hideously 
clever characterisation by 1 on Chaney as a criiple of 

the underworld. Strong, but unpleasant. (.1. 

SHOOTIN FOR LOVE— Universal.— Shell shock 
is the underlying theme of b swift Western. The hero, 
back from the war. walks into a feud which is fully as 

exciting. (September.) 

SHORT SUBJECTS'— Educational. — One and 

two-reel novelties, grouped together in interesting bill. 

"Kinograms," a Bruce scenic. "Speed Demons." 

Gene Saraien demonstrating golf, ana two comedies, 
(September.) 



SHIFTING SANDS— Hodkinson.— Desert stuff, 
camels against the sky and the other usual things 
(December.) 

SILENT CO.MM.A_ND, THE— Fox.— A story of 
the navy. Propaganda type. A good narrauve of ihe 
sea. well told. (November.) 

SILENT PARTNER, THE— Paramount.— An in- 
teresting story, well done except that the suspense is 
not well sustained. (November.) 

SIX DAYS — Goldwyn.— Lovely Corinne Griffith 

in a unique and absorbing story. Lots of excitement 
and a remarkably good cast. (November.) 

SIX-FIFTY, THE— Universal.— A train wreck- 
near the old homestead sends wife to the city to see 
life. But she comes back. (November.) 

SKID PROOF — Fox. — A racing picture after the 
style that Wally Reid made famous. Crooked driver, 
honest boy takes his place. (October.) 

SLANDER THE WOMAN— First National — 
And still the formula! Beautiful heroine, wrongfully 
accused, goes to the Frozen North. There, in the 
great, open spaces, things happen. (August.) 

SNOW BRIDE. THE— Paramount.— A forced and 
artificial story of life in a Canadian village. Alice 
Brady, even, fails to register. (August.) 

SNOWDRIFT — Fox. — A cooling Summer picture, 
with lots of ice and snow. A little waif, missionaries. 
Indians, impossible happenings. I August.) 

SOCIAL CODE, THE— Metro.— A "find the 
woman" melodrama with Viola Dana as a society 
butterfly and not so good as usual. (November.) 

SOFT BOILED— Fox.— Tom Mix and Tony in a 
new type of comedy. Slight story', but plenty of 
action. (October.) 

SPANISH DANCER— Paramount.— Pola Negri's 
best American-made picture. A proof that the faults 
in "Bella Donna" and "The Cheat" were not hers. 
Her performance as the gypsy girl remarkably good, 
as is Antonio Moreno's. (December.) 

SPOILERS, THE — Goldwyn.— A new version of 
the Rex Beach Alaskan romance, with a capital cast. 
Milton Sills and Noah Beery stage a realistic fight. 
(August.) 

ST. ELMO — Fox. — A novel of the time of our 
fathers which makes a picture of about the same era. 
Attempting to modernize the storv has not helped it. 
(October.) 

STEEL TRAIL, THE— Universal— A serial about 
the building of a railroad, interesting and full of 

thrills. (October.) 

STRANGERS OF THE NIGHT— Metro.— A fine 
picture in every way. Even better on the screen than 
as "Captain Applejack" on the stage. (November.) 

SUCCESS— Metro. — Sentimental melodrama. A 
screen version of a stage play which was not a success. 
(September.) 

TAILOR, THE— Fox.— An Al St. John comedy 
with the usual slapstick stuff, but also with some of 
the clever mechanical effects that he always has. 
(December.) 

TEA WITH A KICK— Asso. Exhibitors.— The 
only feature is Stuart Holmes as a comedian and he's 
pretty awful. (November.) 

TEMPLE OF VENUS, THE— Fox.— A mixture of 
a lot of box-office drawing cards. Jazz, scantily clad 
nymphs, bathing girls, and a weak love story. (Jan- 
uary.) 

THREE AGES— Metro. — Buster Keaton in the 
stone use. the Roman era and the present. It has its 
good spots. (November.) 

THREE WISE FOOLS — Goldwyn.— A screen ver- 
sion of 8 stage success, with much hokum but with 
plenty of entertainment. (September.) 

THUNDERING DAWN— Universal.— A story of 
Java with some tremendous and unusual effects. A 
picture that should be seen, but hardly for the family. 
(December,) 

TIMES HAVE CHANGED— Fox.— Not much of 
a picture, with William Russell as star. Conven- 
tional and good for the family. (December.) 

TIPPED OFF — Playgoers. — Mixed-up melodrama 
with Chinese crooks, missing necklace and the rest of 
it. (December.) 

TO THE LAST MAN— Paramount.— A real, red- 
blooded Western, filled with fights and other exciting 
episodes. ( November.) 

TRILBY — First National. — A careful and artistic 
production of the Du Maurier romance with Andree 
Lafayette, the French actress, as star. (Oclotier.) 



Every advertisement In PH0TOP1 w \i m:\zixk is guaranteed 



Photopla'v Magazine Advertising Section 



DNDBR nil RED Kolil ( oemopolltan. \ 

me picture of the Louli \ 1 1 1 period, beautiful!) 

mounted and costumed, but rathet draggy. (J.i>i- 

uary. ) 

UNSEEING nis i i.iopoiit.m.— A splendid 
ii you like snow, {January,) 

UNTAMABLE, nil UniveraaL— Gladys Wal- 

t,m .i> .1 victim ol .1 dual personality. Rather Inter- 
esting, ,,l 't Inclined to be morbid, (November.) 

VICTOR. THE — Universal. — Rather obvious 
story ol titled Englishman, stranded In New York, 
uiul ins love .ui'.iir with a good little actress, (October.) 

VIRGINIAN, THE— Preferred.- Owen W 
famous novel made Into an ezceptionall) good West- 

Janunry.) 

u VNDERINC; DAUGHTERS— Flrai National, 

1 1 you are a daughter, wandei away from tins picture 

ve your time and money. (September.) 

u \Y MEN LOVE, THE— Grand-Ashur.— This 
picture st. uts well, but gradually dwindles. Tin- title 
i-. tricky. (January.) 

WHEN LAW CAME TO HADES— Capital.— A 

shadow ol "The Covered Wagon." Trite story of old 
man and abandoned baby. (December.) 

WHERE IS MY WANDERING BOY THIS 
EVENING —United Artists. — A Ben Turpin comedy, 

anil .is full of laughs as any of liis nonense. (Septem- 
ber.* 

WHERE IS THE WEST?— Universal— A pic- 
ture for the small boys. They will love it. (Novem- 
ber.) 

WHERE THE NORTH BEGINS— Warner 
Brothers. — Rln-tin-tin, the dog star, does his stuff 
It's a pity some of the two-logged players 
can't be as consistent. (November.) 

WHITE ROSE, THE— United Artists.— D. W. 
Griffith's latest, bringing Mae Marsh back to the 
The star's playing is wonderful. So are the 
Bets and photography. (August.) 

WHITE SISTER, THE— Inspiration.— Another 

triumph for Lillian Gish, shared by Henry King, the 
ir. The picture, as a whole, is excellent. 
( November.) 

WHY WORRY?— Patho.— Another Harold Lloyd 
laugh-maker. This time, aided by a giant. Mr. Lloyd 
quells a Central American revolution. (November.) 

WIFE'S ROMANCE, A— Metro.— Clara Kimball 
Young as a love-hungry wife in an improbable story. 
Not for t he family. (December.) 

WILD PARTY, THE — Universal. — Gladys 
Walton as a young newspaper woman who gets 
1 in libel suits, jail sentences and a lot of 
things. (December.) 

WOMAN OF PARIS, A— United Artists.— Prob- 
ably the most perfectly directed picture ever screened. 
. r proof of the genius of Charles Chaplin, who 
produced and directed it. Not for the children. 
(December.) 

WOMAN PROOF— Paramount.— Thomas Mei- 
ghan in a George Ade story, cut to fit and therefore 
entertaining. (January.) 

WOMAN WITH FOUR FACES— Paramount.— 
A fast moving crook melodrama, always interesting, 
with some excellent acting by Betty Compson. 
(September.) 

YOU ARE IN DANGER — Commonwealth. — 
Good little country boy in big city. Doesn't tell nor 
mean much. (January.) 

YOUTHFUL CHE ATERS— Hodkinson.— A story 
of the country youth in the big city. Full of jazz and 
other modern features. (September.) 

ZAZA — Paramount. — A very interesting picture 
Which gives Gloria Swanson a chance to prove that 
she is one of the leading actresses of the screen. 
(December.) 



DON'T MISS 

The Love Dodger 

the big, new serial 

By Adela Rogers St. Johns 

which starts in the 
March issue of 

PHOTOPLAY 

On T^ewsstands February 15 



How YOU Can Write 
Stories and Photoplays 

By ELINOR GLYN 

Author of "Three Weeks," "The Philosophy of 
Love," Etc., Etc. 



"pH)I\ years the mistaken idea pre- 
vailed thai writing was a "gift" 
miraculously placed in the hands of 
the chosen few. People said you had 

to be an Emotional Genius with 
long hair and strange ways. Many 
vowed it was no use to try unless 
you'd been touched by the Magic 
Wand of the Muse. They discour- 
aged and often scoffed at attempts 
of ambitious people to express them- 
selves. 

These mistaken 
ideas have recently 
been proved to be 
"bunk." People 
know better now. 
The entire world is 
now learning t he 
TRUTH about 
writing. People 
everywhere are find- 
ing out that writers 
are no different from 
the rest of the world. 
They have nothing 
"up their sleeve"; 
no mysterious magic 
to make them suc- 
cessful. They are 
plain, ordinary peo- 
ple. They have simply learned the 
principles of writing and have in- 
telligently applied them. 

Of course, we still believe in genius, and 
not everyone can be a Shakespeare or a 
Milton. But the people who are turning 
out the thousands and thousands of stories 
and photoplays of today for which millions 
of dollars are being paid ARE NOT 
GENIUSES. 

You can accept my advice because mil- 
lions of copies of my stories have been sold 
in Europe and America. My book, "Three 
Weeks," has been read throughout the 
civilized world and translated into every for- 
eign language, except Spanish, and thousands 
of copies are still sold every year. My stories, 
novels, and articles have appeared in the 
foremost European and American maga- 
zines. For Famous Players-Lasky Corpor- 
ation, greatest motion picture producers in 
the world, I have written and personally 
supervised such photoplays as, "The Great 
Moment," starring Gloria Swanson, and 
"Beyond the Rocks," starring Miss Swan- 
son and featuring Rodolph Valentino. I 
have received thousands and tnousands of 
dollars in royalties. I do not say this to 
boast, but merely to prove that you can be 
successful without being a genius. 

Many people think they can't write be- 
cause they lack "imagination" or the 
ability to construct out-of-the-ordinary 
plots. Nothing could be further from the 
truth. The really successful authors — those 
who make fortunes with their pens — are those who 
write in a simple manner about plain, ordinary 




Elinor 



of every-day life — thine* with which every- 

1. .null. a. I 

1 wuhin the reai h ol all, tor neryont Ii familiar 
with tome kind ol life, 
Every heart hai its story. Every Ufi 

Ing on. Then are |u I ■ many 
..1 human Interest right in your own vii 
for which tome editoi will pay good m 
;is there are In Greenwich Village 01 the South S .i 
And edit,, is will well omi >hoto- 

play from you just as quickly as from an) well- 
known writer ii your story is good enough. 

are eager and anxious lor the work ol new v 

with all their blithe, vivacious, youthful 

1 bey will pay you well tor youi Big 

money is paid for itorlee and » 

good deal bigger money than is paid 

Ihe man who clerked In a -lore last yeai [| making 
more money thii -.ear with his 
pen than he would have made 

in the store in a life-time. The 
young woman who earned 
eighteen dollars a week but 
summer at stenography ju-t 
sold a photoplay for 1500.00. 
The man who wrote the serial 
story now appearing In one of 
America's Heading mat 
hadn't thought of writing un- 
til about three years ago — he 
did not even know that he 
could. Now his name appears 
almost every month in the 
best magazines. You don't 
lincm' whellicr you can write or 
not until you try. 

I believe there are thou- 
sands of people who can write 
much better stories and pla; 
than many we now read in 
magazines and see on the 
screen. I believe thousands of 
people can make money in 
this absorbing profession and 
at the same time greatly im- 
prove present-day fiction with 
their fresh, true-to-life ideas. 
I believe the motion picture 
business especially needs new 
*->i writers with new angles. I 

yv" believe this so firmly that 

I have decided to give some 
simple instructions which may be the means of 
bringing success to many who have not as yet put 
pen to paper. I am going to show YOU how easy 
it is when you know howl 

Just fill out the coupon below. Mail it to my 
publishers. The Authors' Press, Auburn, N. Y. 
They will send you, ABSOLUTELY FREE, a 
handsome Tttle book called "The Short-Cut to Suc- 
cessful Wriling." This book was written to help all 
aspiring people who want to become writers, who 
want", to improve their condition, who want to make 
money in their spare time. Within its pages are 
many surprises for doubting beginners; it is crowded 
with things that gratify your expectations — good 
news that is dear to the heart of all those aspiring 
to write; Illustrations that enthuse, stories of suc- 
cess; new hope, encouragement, helps, hints — 
things you've long wanted to know. 

"The Short-Cut to Successful Writing" tells how 
many suddenly realize they can write after years of 
doubt and indecision. How story and play writers 
began. How many rose to fame and fortune. How 
simple plots and ordinary incidents become success- 
ful stories and plays when correctly handled. How 
new writers get their names into print. How one's 
imagination properly directed may bring glory and 
greatness. How to WIN. 

This book and all its secrets are YOURS. You 
may have a copy ABSOLUTELY FREE. You 
need not send a penny. You need not feel obligated. 
You need not hesitate for ANY reason. The book 
will be mailed to you without any charge whatever. 
Get your pencil — fill out the coupon below. Mail 
it to The Authors' Press before you sleep tonight. 
This little act may be the turning point of your 
whole career. Who knows? 



The Authors' Press, Dept. 84. Auburn, N. Y. 

Send me ABSOLUTELY FREE "The Shorl-Cut 
to Successful Writing." This does not obligate me 
in any way. (Print your name and address plainly 
in pencil.) 



Name. 



Address 

City and State. 



When you write to advertisers please mention PHOTOPLAY MAGAZINE. 



i8 



Photoplay Magazine — Advertising Section 

'They "Were 




Waiting For It/ 

In Denver, in Muncie, in Elmira, in Beaumont, 
in Quebec. They knew that some day, some 
one would build such a car. They recognized 
it instantly — found it indispensable! Dealers 
are hard put to meet the mounting demand 
for the new Overland Champion. 

Never such a car! Never one so handy! It 
covers every need of farmers, salesmen, 
tourists, merchants, families — everyone. The 
Champion has shown the world new uses 
for a motor car! 

Both seats remove. Taking out the rear seat 
provides fifty cubic feet for sample cases, 
groceries — anything. Seats and upholstery 
make a full sized bed in the car — Pullman 
style. Seats adjust forward and backward. Tall 
people and short people ride in equal comfort. 

Doors front and rear. No seat climbing. 
Upholstery washable — long -wearing. The 
sturdy Overland rear axle. Overland economy, 
dependability — Overland action! The big 
new Overland engine! See the Champion! 



Willys-Overland, Inc.Toledo, Ohio 

Willys-Overland Ltd., Toronto, Ont. 



f.o.b. Toledo 



G^i 



^c> 



Every advertisement In PHOTOPLAY MAGAZINE is guaranteed. 




/ 







Donald Biddle Kcyes 



New 
Pictures 



^GNES AYRES, her so-devastating dignity 
having softened, is beginning to look like 
a charming sub-deb or an ingenue. She is next 
to be featured in "Holiday Love" — which 
might mean almost anything— or nothing much 




■k 



Edwin Bower HoMer 



JOHN BOWERS is convalescing, at present, from a broken leg — because he refuses 
^ to let a double do his trick riding! He will be the hero of Harold Bell Wright's 
"When a Man's a Man," the latest best seller to be translated into celluloid 




Becly 



pERHAPS the most perfect blondes in pictures — the sisters Novak. Jane, the elder, 

has a wistful look. But Eva, despite her unsmiling mouth, carries a laughing devil in her 

widely innocent blue eyes. Jane is the step-child of the screen — but try to abuse Eva ! 




Bmmi 



pROM Australia comes Miss Trilby Clark, bringing with her a pair of large brown eyes, 

a wealth of titian hair, and a bit of stage experience. She's to support Gallagher and 

Shean in "Around the Town." Does she remind you, a trifle, or our own Norma? 




pEGGY SHAW has climbed nearly all the rungs of the Fox ladder to stardom. But why 

shouldn't she — she was born in Pittsburg and received her education in the 

"Follies." And such is fame, especially when one has youth and beauty — both plus! 




Even Sally Jollyco's n.itur.il 
beauty necdi the protec- 
tion of pure soap. For 
simple- cleanliness is the 
basis of nil beauty. 



An announcement 
to all friends of Ivory Soap 



The makers of Ivory Soap now offer you Guest 
Ivory. 

To Ivory's purity, mildness and gentleness, 
Guest Ivory adds — 

the daintiness of a new size, to fit the 
most delicate of slim feminine fingers. 

the charm of a new design and a new 
blue-and-white dress. 

the lowest price at which a truly fine 
soap for the face and hands has ever 
been sold (five cents). 

Quest Ivory completes the Ivory Family 

The Ivory Family now has four members, to 
serve every purpose which demands the pro- 
tection of the skin and of delicate fabrics by 
the use of a fine, pure, mild soap: 

Guest Ivory — for the face and hands 
Medium size Ivory — for the hath 
Ivory Flakes — for the most delicate garments 
Laundry size Ivory — for the heavier fine fabrics 

All arc Ivory Soap, and that means each is as 
fine as soap can be, for if we charged you a 
dollar a cake we could give you no finer soap 
than Ivory. 

PROCTER & GAMBLE 



IVORY SOAP 

99 " 100% HIIRF. IT FLOATS 



f 



1 



In Snlly Jollyco'i 
own jjlenminn white 
bathroom lies om 
of the chief secrets 
of her chnrm. 

Look carefully, 
and you will see a 
d.itnty white cake of 

Guest Ivory in the 
soap-holder. She 
uses it niyht and 
morning, to keep 
her skin clean, soft 
and nl tm 'inn with 
life. 

Sally entrusts her 
beauty to Ivory with 
perfect confidence 
in its pure, mild. 
k e n 1 1 y cleansing 

lather. 



ffuest IVORY 

may be purchased in this 
carton of i2 cakes. 



&Ry; 



ivory 




Volume XXV 



The ^{ationat (juide to ^Motion Pictures 



Number Tlirc- 



iTKAI'fc MARK! 



PHOTOPLAY 



February, 1924 



Speaking of Pictures 



By James R. Quirk 



RIGHT up on top of Pike's Peak, with the thermometer 
below zero, I would take off my hat and make a low 
obeisance to Allan Dwan for his production of "Big Brother." 

He has made a truly great picture. In my opinion it rank> 
with "The Miracli Man." It is a classic. It is an art work, but 
.Mr. Dwan gave his contemporaries a lesson in sane picture 
production, for it was made at one-sixth the cost of some 
productions which cannot approach it. Here was no egotist 
striving to outspend others to his own glory. "Big Brother" 
couldn't have been made more human, more appealing, more 
worth while with an added million of cost. By all means see it 
at your first opportunity. 

More power to you, Allan. May your shadow never grow 

less. 

Wll \ T Chaplin did for Jackie Coogan in "The Kid" 
Dwan has done for seven-year-old Mickey Bennett in 
this picture. Comparisons are distasteful. Jackie is wonder- 
ful. But Mickey, this freckled-faced youngster from the East 
Side of New York, is just as wonderful in a different sort of 
work. On another page of this issue is a story of this new 
prodigy. 

SOME moving picture exhibitors are as bad as politicians. 
Here is one of the most promising of them all. This ad- 
vertisement, which would bring a blush of shame to the cheek 
of a self-respecting porch climber, appeared in a Walton, N. Y., 
newspaper: 



Smalley's Circuit 

Which Means the FIRST and Best in Amusements 
EXTRA-SPECIAL FOR SA TURD A Y, NOV. 17, ONE DA Y ONL Y 

►cuow The Covered Wagons « 

TUB HOST Tai-KED or PICTURE /« ALL AME&iCA. 'PtOSiES TKAILS" 



It has all the sincerity of those old-time Peruna advertise- 
ments. I wonder how the folks of Walton enjoyed "The 
Covered Wagon." 

"RATE is a tricky dealer. Martha Mansfield was just on the 
-L point of stardom when she met her tragic death a few weeks 
ago. She had worked hard and sincerely since she was picked 
out of the " Follies " four years ago, and was to be starred in the 
picture on which she was working when some careless fool threw 
a lighted match on her lacy gown, which became a furnace in a 
few seconds and burned her to death. She was universally 
loved and respected, and was one of the most beautiful girls 
who ever graced the screen. 



HERE'S a funny one. The class of ladies and gentlemen 
who have no regular address and no visible means of 
support have a new trick in Los Angeles. Every second or 
third person brought before the courts on a vagrancy charge 
claims to be a moving picture extra. They register as extras at 
a few casting directors' offices, but make no effort to work. 
When the judge asks why they are not cxtraing, they say they 
have applied day after day, but can find nothing. 

WILLIAM de MILLE recently participated in a discus- 
sion of motion pictures. A child educator blamed pictures 
for the delinquency of some of her little charges. A professor of 
history thought little of them, except for the purposes of visual- 
ized education. Under this barrage Mr. de Mille said: 

" When going to the moving picture theaters pick your 
play, your star, or your producer the way you do with the 
theater. Do not expect us, as persons seeking to perfect this 
new method of artistic expression, to act as chaperons for 
all the children of the country." 
Mr. de Mille, you said something. 
Then he said something else worth quoting: 

" The boards of censors, which are different in every State 
and comprise forty-eight varieties of ideas as to moral and 
immoral action, are made up of individuals whose intellect 
is of the Dark Ages, whose brains are medieval, and whose 
taste is Victorian." 

He might have mentioned what the psycho-analysts say 
about their complexes. "To the pure all things are pure," is 
the underlying thought. 

STRANGELY enough, women outrank men as continuity 
writers. Frances Marion is the greatest of all. Jeanie 
Macphcrson, Cecil De Mille's assistant, wrote the script for 
"The Ten Commandments." June Matins is editorial chief of 
Goldwyn. Clara Beranger has written all William de Mille's 
scenarios. Ouida Bergere has adapted everything for her 
husband-director, George Fitzmaurice. Bradley King adapted 
'Anna Christie" to the screen in a masterful fashion. 

There must be some reason why women are more successful. 
Is it because the woman is more capable of detaching her own 
feelings and personality and throwing herself unreservedly into 
the author's own story? 

THERE isn't a more conscientious producer than Joseph 
Schenck, who makes the pictures of Norma Talmadge, his 
wife, of Constance, and of brother-in-law Buster. Yet he 
doesn't seem to be able to do anything with Constance. 
"Dulcy" was bad, and "The Dangerous Maid" is no improve- 
ment. There are two faults, direction and Constance. But I 
know that Schenck is sparing nothing to get the best he can for 
her. It's not the easiest thing in the world to get stories that 
fit Constance. She's an odd size. 

27 





That indefinable attribute — magnetism — is found 

in Gloria Swanson, the smart, fashionable, finished 

Gloria 



Alluring is the word that best fits Corinne Griffith. 

She is the quintessence of femininity, always 

reserved 



What Kind of Women 

Attract Men Most? 



By 
Herbert Howe 



Personal magnetism is the quality that makes one woman 

stand out in a crowd, says a writer who has studied the subject. 

It is what stimulates an unconscious interest in every man. 



I AM supposed to know all about women. How this flatter- 
ing fog of fiction ever settled on my shoulders I have no 
idea. But my acquaintance with the petted darlings of 
Hollywood was somehow supposed to have made me one 
of the sublime initiate. A few sweetly trusting individuals (and 
the editor of this magazine is not excepted) nursed the convic- 
tion that I was on terms of confidential intimacy with not only 
the stars themselves, but their present and ex-husbands, their 
personal maids, their masseuses, their couturieres, the servants 
in their houses and (in the exceptional cases) the skeletons in 
their closets. And being in this exalted know, 1 was marked as 
tin- one and only master-analyst of attraction to give the great 
secret of it to the world. 

As soon as I received this order, I took a laboratory micro- 
scope, a chemist's apron, put my charming little girl-friends in 
the retorts and gave them a solemn, unemotional, hard-boiled 
once-over. And I am here to report that the only mental and 
spiritual attributes common to all the enchantresses of my 
Hollywood acquaintances are tolerance, understanding and 
breadth of mind. 

Beauty, wit, intelligence, sex appeal, they have in varying 
degrees and varying expressions. But every woman I ever have 

28 



met who has been an unusually successful ensnarer of hearts 
has been, with all these aside, a good fellow. 

There is undoubtedly some admirer tor every woman in the 
world. You know what Thackeray said, that every woman 
who wasn't a monster could get some man. And Sir Clyde 
Engels, who has collected the celebrated "Assemblage of 
Curious Personages" for Ringling Brothers' and Barnum and 
Bailey's Combined Shows can go the great satirist one better. 
Every freak in his business, from hve-hundred-pound Little 
Nellie to the Sword Swallower and the Damsel with India 
Rubber Hair, is happily married and not entirely unharassed 
by mash mail. So there is truly hope lor every gal. 

That beauty isn't the fust essential is obvious. It helps. Oh, 
how it does help some block-head baby-dolls! But in the 
annals of dueling and high romance there have been as many 
enchanting women with imperfect forms and faces as there have 
been beauty-contest winners. Beauty is eliminated. 

Consider brains. The aggressively brainy woman is a horror. 
A woman so intellectual that it hurts is out of the question. 
But a typically feminine intelligence, a subtle hint of knowl- 
edge, a lively logic full of unexpected loop-holes, brilliance with 
just a vague haunt of superficiality, these qualities in an excep- 




Child -naturalness is dominant 

in Mabel Normand. She is 

the unbelievable combination of 

gamin and angel 



tional feminine brain are interest- 
compelling and often quite attractive. 
Especially in collaboration with some 
other winning quality. Cunning and 
cleverness have made many a success- 
ful vamp, but a vamp is the sly, con- 
centrated pursuer. She is seldom 
pursued. And it is the pursued with 
which these theories concern 
themselves. 

Sincerity, for one thing, or a 
convincing semblance of it, is 
essential. That goes for interest, 
too. A woman who can subtly 
convince a man she is interested 
in him, not merely as a man, but 
as an individual, has half won him. 
There is a suggestion of flatten- 
about this. That is one thing men 
love, when it isn't too crudely ad- 
ministered. Flattery applied with 
a shovel is distasteful. But gently 
spread on with the tip of one 
magnetic finger, it is irresistible. 

She must have warmth. She 
must neither act nor look like an 
icicle. Thomas Walsh, the multi- 
millionaire miner and partner of 
King Leopold of Belgium, said, 
when he had met a queenly woman 
of great beauty: "What a fool a 
man would be to break his heart 
against that iceberg." A hint of 
potential warmth, at least, a man 
asks. 

Florenz Ziegfeld, when asked 
whether there is any woman who 
is attractive to all men. answered 



When with Betty Compson, a man always 

believes he is the only one in the universe to 
her at that moment 



AT one time it was considered good form for 
a lady to faint at the mention of the 
element "sex-attraction.'" If she were not 
adept at fainting, the least she could do to 
preserve her illusions was to get up and leave 
the room. Today, the tendency is rather to 
overwork the term. It is supposed to account 
for just about everything in human as well as 
animal life. 

The kindergarten children go through the 
whole subject from Ellen Key and Havelock 
Ellis to Freud. 

In spite of this being an age of frank special- 
isatibn in the subject, nobody has yet thought 
up an accurate definition for that peculiar 
charm which is the gift of some lucky mortals, 
or evolved a formula for the acquisition of 
it. Call it lure, attraction, magnetism, per- 
sonality, or what you like, I believe it is a 
quality in which actual sex appeal is but a 
slight element. The truth, I believe, lies 
somewhere between "Flaming Youth 1 ' and 
"David Copperfield." 

THE EDITOR. 



Naive, emotional, beautiful, 

Pola Negri always comma mis 

notice She is of elemental 

nalwralneiss 



" Yes, there she is." He nodded at a 
Kirchner drawing of "Temptation." 
The picture was one of a girl neither 
fat nor thin, but a pleasant medium. 
Her eyes held an invitation, a personal, 
ingratiating note, a "come hither" 
look. 

A woman must have amiability. 
Every man detests a grouch. She 
need not be equally amiable on all 
occasions. The woman with a 
constant smile is monotonous. 
But amiability must be a wedded 
characteristic, and never long 
absent. 

All men like vivacity. The 
woman who listens languidly to a 
man's jokes and stories stirs the 
murderous impulse. She need not 
be a chatter-box, in fact, must not 
But a lively vivacity that listens 
as well as talks is what all men 
desire in woman. 

She must be well-sexed. She 
must be essentially woman. She 
must not emulate the manner nor 
voice nor outlook of a man. Fem- 
inine curves, suggested by chiffons 
and laces, are more alluring than 
angular bones supporting ex- 
aggerated tailor-mades. 

Magnetism! That is the word 
which tells the whole story. A 
compelling magnetism is the qual- 
ity which makes one woman stand 
out in a crowd of them. It is the 
thing which calls you up with a 

[ CONTINUED ON PAGE 98 ] 

29 



How' Those Animal Comedies are Made 





The star of the company, with her leading man, both sup- 
ported hij the producer, Hal Roach, who originated and 
has carried to success the idea of these highly amusing 

animal comedies 



JO 



Here is Dippy-Doo-Dadrille, a city without Rotary Club 

or a Board of Trade. Also it has no human citizens, 

being peopled by Hal Roach's animal actors 



OUT Culver City way, a new mad village has sprung up 
to rob the movie capital Hollywood of a measure of 
its fame. And this has nothing to do with western 
real estate. It is a social movement, entirely, fifty 
percent of which is dedicated to intellectual uplift and fifty 
percent to art. The place is the materialization of Delirium 
Tremens and bears the eloquent station-label. Dippv-Doo- 
Dadville. 

As yet no movie stars have abandoned their Hollywood 
castles to emigrate to this fantastic metropolis. The city 
council wouldn't admit them. 

The Chamber of Commerce has shut out all competition, for 
the city itself is in the picture industry, and its product already 
has found favor with the customers. You probably have 
become one yourself. The ducks, monkeys, cats, dogs, 
goats and guinea pigs who star in this particular commu- 
nity are probably familiar to you. If you have seen these 
curious little melodramas, acted entirely by animals, you 
certainly have asked yourself. "How do they do it?" And 
all around you in the audience you have heard whispers of 
the same inquiry. 

Hal Roach, the successful comedy producer, is the 
father of the inspiration. It came to hi in one day as he 
stood before the cage of monkeys at the /.oo. ami watched their 
antics. They shared a common desire to please, charm, per- 
form, and occupy the center of the stage. And he detected a 
subtle hint of the priceless essence which is known in the busi- 
ness as screen personality. Assuredly, the animals had it. 

So he decided to attempt making all the old stock melo- 
drama plots, the western, the mother-love story, the young- 
love story, the villain-riddled romances of the paper-backs, 
with only animals in the cast and the most grave and solemn 
direction. And in Len Powers, who had worked on the Roach 
lot for some years as an assistant director and cameraman, he 
had at hand a director with an animal complex. 

The first thing Mr. Powers found out was that patience — 
patience— patience — was essential. Tactful and loving pa- 
tience, too. with an effort to put yourself in the animal's place, 
with his particular degree of intelligence and his training, and 
see how things would affect you. 

Monkeys are naturally imitative. The best results are 
achieved by doing a thing yourself, over and over again, and 
letting them imitate you. They are clever and quick, but they 
forget quickly, too, and have to be kept at a thing. 

For instance, when Mr. Powers wished to teach the monkey 
leading man to smooth his hair [ continued on page 114 ] 



H«" ' 




The com pan;/ going on location in one 

of the city taxis vrith Director Povjers 

as chauffeur 



Director Lm Powers meets socially "the 
lady that's known as Lou" 





No, Hollo, this is 
not a quack doctor. 
It is the house detec- 
tive of the stirring 
melodramas in one 
of kisdever disguises 





Len Powers combines with his directorial duties those of 

property man and make-up artist. Sometimes his 

temperamental stars rebel 



31 




KUwln Ilower llesscr 



Hollywood knows very littlt about Edna Pwviance and oatts her a woman of mystery. An enigma but — 
since her first starring nature in "A Woman of Pari,*" — conceded to be a great actress. Here is her latest 

portrait, which shows a charming maturity 



■ 12 




The grown-up Edn 
man ft . Ab Marie St. Clair, 
the tragically human heroine 
of Charles Chaplin's "A 
Woman of Paris" . 



And here is Edna Purviance 
only four years ago — a dim- 
pled, rather rolypoly, but 
exceptionally pretty girl. 
The change is striking 



Hollywood's Mystery vVoman 



She is in pictures, but not of them. 

But she is both in and of the very best in 

California society 



By 
Adela Rogers St. Johns 



IT IS very difficult to be mysterious in Hollywood. The 
only other place with so little privacy is the county hos- 
pital. Things that nobody can know, everybody does. 
Family secrets are front porch gossip. The whole world 
knows what the important inhabitants eat, what kind of bath 
salts they use, and if they have had the face done yet. And 
other little matters that aren't general information, the Boule- 
vardiers know and tell. 

Nevertheless, we have a mystery woman — a woman about 
whom we know almost nothing at all. She should, of course, 
be tall and dark and strange, with a smile done by Mona Lisa. 
She is none of these things. She is shimmeringly blonde, with 
one of those exquisite pale skins under which the roses glow 
and fade entrancingly. Her eyes are blue and there is a soft 
roundness about her. 

Just the same, Edna Purviance is a mystery woman. An 
enigma. Less is known about her, both in Hollywood and 
among the fans, than is known about any other woman of 
prominence in pictures. Her career has been startlingly un- 
usual. Her personality, her life, remain as baffling as ever. 

Edna Purviance is in the pictures, but not of them. You 
never see her "around." Hardly anybody knows where she 
lives or what she does. Miss Purviance might take an aero- 
plane and fly off to Mars when she shuts her dressing room 
door, so far as the movie colony knows. Which is amazing in 
a small town like Hollywood where everybody knows every- 
body else's business. 

Now it is very interesting — this mystery that surrounds 
Edna Purviance and her life and character, when you consider 
it in connection with her work. 



It is my theory, right or wrong, that picture people see too 
much of other picture people, and too many pictures, and talk 
too much about pictures and how, why and when they're made. 
I may be wrong, but it often seems to me that the crying need 
of many picture stars is fresh contacts, outside viewpoints, 
mental relaxation and revivification. Most of them live, eat, 
sleep and dream pictures. They can or will talk of nothing 
else. They work at the studio all day and, when they go 
home, they either have a picture run in their own projection 
room or they go to see one at a theater. 

Edna Purviance does her work at the studio and then she is 
through with pictures. When her car swings out of the drive- 
way of the Chaplin studio, she enters another world. She is a 
dual personality. There is Edna Purviance, for eight years 
Charlie Chaplin's leading woman and now star of his first 
directed picture, and there is Edna Purviance, society woman 
and intellectual recluse. 

Oh yes, really. 

There are three things that intrigue my imagination about 
Miss Purviance tremendously. 

First, "A Woman of Paris." 

If that picture had never been made, Edna Purviance might 
have continued to exist in her little veil of mystery forever, so 
far as I was concerned. But her performance as Marie in 
Charles Chaplin's production placed her very, very high in my 
estimation as a screen actress. Personally, I do not know 
when I have enjoyed a performance so much. It was so mar- 
vellous to see the suggestion of maturity, the womanliness of 
thought and action, the life of a grown woman of developed 
emotions and problems. I adored [ contintod on page 115 J 

33 



Th 



Paved 
Tun 




A story of life 

in the Roaring Forties, of a girl 

who was in, but not of, 

the jungle, and of how she 

escaped — aided by a volunteer 

literary animal tamer 



By Frank R. Adams 



Illustrated by 
Arthur "Will iam Brown 



I 

A T dusk the paved jungle begins to come to 

/ \ life. Cowardly men, their tusks bared occa- 

/ \ sionally in snarling laughter, lurk in the 

shadows ready to cut out and destroyanyluck- 

less weaklings who may stray from the Hocks and herds. 

Above all indeterminate rustlings and murmurings 

of the cautious creeping and crawling creatures of the 

wilderness comes the contemptuously raucous roar of 

the tired business lion. The king of the jungle is 

irritated and he is broadcasting his complaints to the 

cowering corners of his domain. 

The trembling dot, who has come out of her hiding 
place to drink, suddenly funis herself surrounded by horrible 
chuckling noises and by a circle of glowing malevolent eyes 
slowly converging towards her upon silent padded paws. 

11 

ROSEMARY WINTERS was still beautiful. The process 
of starvation, since she had lost her job at the Moonmill 
Roof, had so far only served to emphasize the ascetic fineness 
of her charm. She had always been thin, so the loss of a little 
flesh made no perceptible change in her figure, and her face had 
not sharpened much yet, except her eyes, which burned. 

The way she lost her job as left end of the line in the Moon- 
mill chorus tells all you need to know about Rosemary. 

If you ever saw the show you may remember her as the girl 
who looked as if she didn't belong. She had a way of wearing 
the costumes, which were rather less than half of anything 
anybody ever wore before, that attracted instant attention 
from the connoisseurs of feminuditv and brought admirers night 
after night to till the front row tables of the cafe chahtatlt. 

Most of the girls had special friends. Rosemary had none. 
Instead she had hundreds of candidates for her favors. In a 




way she was a much belter drawing card than if she had been 
more complaisant. The hungry beasts of the jungle were 
certain that some day she would stumble and they were con- 
tent to wait more or less patiently so as to be on the ground 
when it occurred. 

All that would have been well if it had not happened that 
Quiller Hanks, the owner of Moonmill Roof and other theatrical 
and restaurant property, had inadvertently fallen in love with 
her himself. In love, that is. in the Broadway sense. It isn't 
quite like the bucolic thing that James Whiicomb Riley wrote 
about or even the more sophisticated passion which has given 
employment to the pens of our present day poets. Rather it is 
a sort of gilded cave-man desire, stimulated by lights, liquor 
and cosmetics. 

To attract the attention of Quiller Banks was and is yet the 
highest degree conferred by The F.xtension Department of the 
University of Jazzway. If he thought you were beautiful, by 
heck, you were, no matter what you looked like. and. pretty 
soon, hairdresseis were beginning to imitate your coiffure and 
modistes were angling for youi trade. 

Quiller Banks was the Lord High Picker among the village 




"All the 
charges 1 can 
think up 
against this 
'Idling fellow 
are assault, 
burglary and 
murder," 
Quiller Banks 
coynmented 
grimly 



Rotarians. In a city of hundreds of caiefully selected Thirty- 
Second Degree Passers on Pulchritude he was the only one who 
could wear 33 in his buttonhole. If the President wanted to 
know who were the prettiest girls in the United States, Quiller 
Banks is the man he would send for just the way he would 
summon Charlie Schwab if he desired information on steel, 
or General Dawes if he couldn't spell moratorium or some such 
word relating to finances. No President has ever sent a hurry- 
up call to Quiller Banks as yet, but the chances are that every 
once in a while after having had a hard day reading proof on 
the Congressional Record, or something like that, he would 
like to. 

Quiller Banks loved beauty perhaps because he had so little 
of it himself. Squat and ugly were words that applied both 
to his face and his figure. Actors, making up for villains, 
drew upon their memory of his features for a model. His nose 
could be imitated with putty and his eyebrows with black 
crepe hair in almost a straight line across the forehead, but the 
heavy expression of his mouth and eyes was something the 
performer could only stimulate by thinking of something 
pleasantly disagreeable, like stepping on a spider. 



Quiller Banks did not go out with girls. That wasn't 
necessary. They came to him. 

In accordance with his time honored custom he sent a note 
to Rosemary one evening to the effect that he would appreciate 
her company at his downtown apartment after the show. 

Rosemary received the message and stood for a moment, 
quivering with fright. She wondered if she ought to run, just 
as she was, in the costume for the finale, out into the street 
and as far away as she could. 

Of course she couldn't. And the beginning orchestra music 
of the last number carried her automatically out onto the dance 
floor. She smiled instinctively while her feet went through 
the well remembered steps. But, inside, her heart was jelly 
and her lips were really trembling with abject fear. 

What she finally did was nothing. She went home. There 
was nothing else she could think of. But she lay awake most 
of the night wondering if he would come and get her. She could 
imagine him waiting, pacing the floor of his apartment, getting 
angrier and angrier at the insignificant person who had dared 
to flout him, and finally seeking her out to wreak his ven- 
geance. 

35 







Rosemary received the message and stood for a moment, quivering with fright, 
if she ought to run, just as she was, out into the street 



Slu wondered 



III 

IT is a curious thing, but no one ever thinks of a coryphee as 
having a family. Other people are obviously just people like 
the rest of us, with relatives, detrimental or otherwise as the 
case may be, but the beautiful ladies of the ensemble, especially 
if they really are beautiful, seem merely orphan butterflies that 
flit for an hour or so and then fade into nothing until the lights 
come on again. 

It is difficult to imagine them as having solicitous mothers, 
indifferent Fathers, nagging brothers and sisters, disapproving 
aunts and all the Other impediments that the rest of us drag 
through life in decreasing train, until at last there are none and 
we find ourselves not travelling on our own power at all, but 
merely hitched on as the caboose of someone else's Deathbound 
Limited. 

Hut the gorgeous elf-clad midnight pranccrs do have every- 
thing, sometimes even husbands who are plumbers or some- 
thing else certainly far more romantic. Wait, don't lav this 
story down, — this gal isn't married. But she has other 
troubles. 

One of them was a not very old but a quite querulous father. 
He had reason to complain. He was very ill of a lingering 
sickness that rendered him inactive and a constant care to his 

36 



daughter. Once he had been a powerful, thundering man, 
purposeful and successful. To be weak and dependent broke 
his spirit. The expensive specialist whom Rosemary had in to 
examine her father was very discouraging about his case. To 
keep him alive at all was going to require constant care and 
scientific nourishment. Rosemary had set herself the task 
of providing both. 

Besides Mr. Winters, Rosemary had one other responsi- 
bility. That was her phantom admirer. She knew he was an 
admirer, because. — well, just because. A woman can always 
tell. She called him a phantom because she never saw him. at 
least not to know that she had seen him. That was partly 
because he was employed at ungodly hours, more unchristian 
than her own even, and partly because he very evidently did 
not want to encounter her. 

That was explained in one of his early letters. 

"Dear Miss Rosemary: 

" I met you once, several years ago. I was up from Princeton 
with a Hack team and you were in the same party that I was 
after the meet. You wouldn't remember me so do not try. 
You weren't so famous yourself as you are now. — just a school- 
girl, 1 believe. I've seen you once a month lately, — that's as 
often as 1 can afford the Moonmill [ continued on page 129] 




The 

Barthelmess 



THOUGH people insist upon calling him a 
juvenile, we aver that Dick Barthelmess is 
not mis-cast in the extremely grown-up role of 
father. In fact, he looks very much at home 
with Mary Hay Barthelmess, Jr., in his arms. 
Although (in the circle) the young lady seems 
to take after her battling father — wait until 
you see the fight he puts up in " Twenty One " ! 
— it would also appear that she inherits some 
musical talent from her mother, Mary Hay 
the first, who is starred in a singing and 
dancing comedy! 



37 






Odds and Ends the Camera Cau 





What would roy- 
alty these days do 
without the picture 
stars? Here is 
Virginia V alii 
with Princess 
Sophia's earrings, 
for ichich the donor 
paid 8,330,000 
kronen. That's 
$49.29— about 



Here's a puppy- 
eye view of Douglas 
Mac Lean' s new 
trousers. John 
Aasen, the giant. 
has nothing on 
Doug in the es- 
ti/nation of Peter 
Patch 



When Gloria Swanson came East the boys at the studio tried to 
make her dressing-room homelike, with Hollywood atmosphere 



Conrad Xaacl shows 
what the well-dressed 
man will wear. Trick, 
sawed-off rest, pleated 
trousers 'n' everything. 
Wonder if Conrad 
would wear them any- 
where except to have 
his picture taken 



No, children, this is 
not Betty Bit/the nor 
Phyllis Haver. It 
doesn't seem reason- 
able, but it's realli 
Norma Tahnadgc in 
" The Song of Love." 
Arthur Careiee is the 
owner of the grip 




38 



In the Studios and on Location 



Claire Windsor is get- 
ting to be a desperate 
young per SO n . A a 

"Xellie the Beautiful 
Cloak Model," she just 
dare* an elcrated train 
to run OUT Iter. And 
what a lot of directors 
and cameramen it took 
to MM her! 




They've been aivay a long time, these two — as lime goes in 

pictures. But Pauline Frederick and Lou Tellegen are back — 

and in the same picture, "Let Not Man Put Asunder" 



The first photograph ever taken of Jackie Coogan 

shows that his habits haven't changed. He liked to 

play vnth dough even at that early age 

39 



CLOSE-UPS 6? LONG 



I RUSHED all the way from Hollywood to New York to 
patronize. the art of Eleanora Duse, and on the first night 
of arrival went to see Peggy Joyce, the second night to see 
Jocko, "the ten-thousand dollar crow" (I forget what Peggy 
was listed at), and on the third night to behold Texas Guinan. 
In a word, only the most expensive attractions lured me. 
That's what Hollywood has done for me. 

WHEN last I saw our old friend Texas Guinan, known in 
artistic circles as the female Bill Hart or the two gun 
woman, she couldn't make un her mind whether to play a 
female bullfighter, go 
hunting elephants in 
India or open a tea room 
for debutantes. Happily 
for the elephants, the bulls 
and the debs she did none 
of these. Upon my return 
to New York from Holly- 
wood I found her atop the 
Beaux Arts Cafe, acting 
as hostess and dragging 

the Duke of Manchester \j (s?f 

around. It's a dull night, I \ /C ^"*Y^— >/* 

when Texas can't dish a 
duke or something demo- 
cratic. She said they had 
been introducing one 
another over the radio, 
Texas saying, "Duke, 
meet the United States." 
Her brother, who lives on 
Long Island, says they 
never hear from her except 
over the radio. If you ever 
heard her sing you would 
wonder why she bothers 
with radio. All she needs 
is a tall building. She was 
wasted in the silent drama. 

THE Latin is preferred 
to the home-grown 
artist in these pages for 
the following aesthetic 
reasons: 

I. Upon my first arrival 
in Hollywood, SenorTony 
Garrido Monteagudo Mo- 
reno, noble Spaniard, 
placed his car and driver 
at my direction, initiated 
me into the gayeties of the 
Ship Cafe, the menu of 
the Athletic Club and, in 
general, served as guide 
along the primrose path 
that leads straight to fame 
and destruction. 

II. Upon quitting Hollywood I had at my disposal the car 
and driver of Signor Bull Montana, fine old Roman, who during 
my stay plied me with the delicacies of his Italian cellar and 
kitchen, together with the wit and wisdom of his profound 
intellect. 

III. Upon returning from Europe the last time before a bleak 
and giftless Christmas Signor Rodolph Valentino, magnificent 
Italian, presented me with a handsome bottle of Benedictine 
anchored to an Ingersoll watch; and previously in Hollywood 
I lie signor proved one of the most charming of companions, one 
\. lio ran talk about himself and yet be entertaining. 

IV. Upon uttering words of commendation anent Senor 
Ramon Novarro, gallant Mexican. I have been Battered by 
an appreciation never before encountered in a movie mime. 
After seeing him in " Searamouche " I telegraphed congratula- 
tions declaring him the finest romantic actor west of Barry- 
more; his reply permitted of but one assumption — that I, 

40 



J£>~ — *~~" "~~ 


■A \ \ 

V k 




m 


/ _J 


^■^ 



What a crash that balcony seem a; 
ami X 'Ha Xalili a.- 



as a critic, had completely snuffed out poor old Bernard Shaw. 

THERE'S such ado about "Romeo and Juliet" just now. 
Mary Pickford considered doing it, but, according to report, 
declared she would not undertake it unless she could get 
Valentino to play Rotneo. Norma Talmadge intends to film 
it in the spring, but has not determined as yet upon her Romeo. 
Lillian Gish and Richard Barthelmess plan a scoop by doing it 
in the actual Italian setting of Verona. Why not have Italians 
in the leading roles? I suggest Bull Montana for Romeo and 
Nita Naldi for Julicl or vice versa, since they both wear tights 

well. What a crash that 
balcony scene would be! 

T REGRET that it is my 
J- duty as a critic of screen 
personalities to report Cal- 
vin Coolidge a flop. He 
simply does not register. 
Whether smelling a rose or 
talking to a congressman 
from the West his expres- 
sion is ever the same. As 
a critic of high integrity, 
who heralded the discov- 
ery of Valentino, Charlie 
Ray, la Negri and other 
proved successes, I realize 
what I say is going to 
carry considerable weight 
at the presidential elec- 
tion. Let me state that 
my motive is simply pa- 
triotic, entirely free of 
party prejudice. As every- 
one knows, the chief duty 
of our executive today is 
to film and radio well. 
Mr. Coolidge does not. 
As a result the United 
States hasn't one tenth 
the boxoffice attraction of 
England, which stars the 
rrince of Wales. Wales 
has everything; good 
looks, personality and sex 
attraction. 

EDITH ALLEN, play- 
ing her first role, scores 
emphatically in Rex In- 
gram's "Searamouche." 
She has one of those in- 
stantaneous personalities, 
as fast-working as Mabel 
Normand's or Barbara 
La Mirr's, but by no 
stretch of the imagination 
could one call her a hard 
worker. When she saw herself in "Searamouche" she was 
bitterly disappointed, alleging that the part, originally a big 
one, had been all cut out. Now Edie never read the story to 
learn the si/.e of the role, but she had worked three days in suc- 
cession, so concluded that she must be just about the whole 
show. However, no hard feelings. Incidentally, she doubles 
in the picture. In addition to the role of Climene she plays 
a fine anonymous bit, that of the peasant girl with a baby in her 
arms, who attracts Lewis Stone's attention as he leaves the 
slain poacher's hut, in the first chapter of the play. 

When Edie came to Hollywood Alice Terry persuaded her 
to read " The World's Illusion" by Jacob AVassermann. "Say," 
ejaculated Edie after reading the first volume. "I never knew 
books were so good!" 

Don't get the impression, however, that Edie is one of those 
beautiful-but-girls. 

After dancing with a certain young actor at an affair recently 



uld be with Bull Montana as Rami 

.1 ut i<t — or rice n rsa 



SHOTS By Herbert H 



y 



owe 



sin- said, "M\ Lord, but that fellow's envious of Ramon 
Novarro!" "Why, did he knock him?" 1 asked. " V>." said 
Edie, succinctly. "Ho praised him." 

IRECEN 11. V took occasion to congratulate Fred Nibloupon 
assembling such an invincible co starring combination as 

Ramon Novarro and Barbara La Marr in " rhy Name is 
Woman." This month I give three vivas for George Fitz- 
maurice, who made "The Eternal City" with Barbara La Marr 
and Benito Mussolini. With Babbie and Benito in the cast 
the picture certainly should not be lacking in action. 

REVERSING! he 
formula of passing 
from stage to screen, Mc- 
Kay George, a young Juan 

of the cinema, quit the 
Universal lot, where he 
had been playing aimless- 
ly, to take the juvenile 
lead in the Broadway stage 
production, "The Deep 
Tangled Wild wood." 
The producers of the play 
insisted that in shaking 
the Holh wood dirt from 
his shoes he should change 
his name. In the films he 
was Grant McKay. Since 
it is always a critic's duty 
to object to any change of 
name, be it of play or 
player, I carped on the 
ground that the public 
might confuse him with 
McKay Morris, another 
stage player. 

"I wish they would!" 
exclaimed Mac — and 
then, even more hopefully, 
"Or with Grace George!" 

THE producers have 
been making their an- 
nual stump speeches about 
the necessity for a cut in 
players' salaries. A pioneer 
actor of one studio upon 
reading such an oration 
delivered by his producer 
immediately wired the 
gentleman demanding a 
raise in salary. He got it. 

THE motion picture in- 
dustry from its birth 
has suffered with an infe- 
riority complex. Producers 
buy published stories and 

plays rather than originals because having no faith in their own 
judgment they prefer to take something that someone else has 
passed on. They value both plays and players by the price 
tags. A director recently objected to an actor as being 
incompetent. 

''But his salary is a thousand a week!" bellowed the pro- 
ducer. 

" I didn't know that," gasped the director. " Well, if he gets 
a thousand a week he must be good." 

A similar logic is to be found in most movie plots. 

FOR the best answer to the question, what's the matter with 
the movies, I award a personally autographed photograph to 
the exhibitor in ''The Deep Tangled Wildwood," a stage play. 
"The trouble with the pictures is they're getting too artis- 
tic," says the exhibitor. "These bigger and better pictures 
don't go; what we want is more bad pictures." 




"When I take jrictures with juvenile friends," said Chaplin, "I feci 
as though I had a huge stomach with a heavy gold chain across it" 



As ( li.ulu- ( h.iplin and 1 were leaving the Montmartre < 
after lunch, a little boy who looked as though his name 

might be Oliver ran up and said, "Oh, MUtah ("holly, may 1 

take your picture?" Cholly chortled embarrassment and said 

I tainly." At the loot of the Mair> ( Mivcr's mamah appeared 

and throatily apologized for Oliver's nerve, saying they simply 

adored Mistah Chaplin and went to see all his pictures. So 
Charlie lined up on the pavement, placed his arm about Oliver, 
and mamah snapped the kodak while a i urious crowd gathered. 
When it was over Charlie leaped into his car. "You know," 
he Cried hysterically, "when 1 do a thing like that I always ftd 

as though I had a huge 
stomach with a heavy 
gold chain across it." 

TIB >SK who enjoy in- 
veighing against the 
movies for their impropri- 
eties would have a good 
time viewing the New York 
stage plays this season. 
The following are a few 
that shocked me, coming, 
as I did, clean from Holly- 
wood: 

A comedy in which a 
husband calls his wife's 
guests names not used by 
our Bible Class. 

A comedy in which a 
princess, the mother of 
three children, sets out to 
ruin a bullfighter with her 
husband's consent. 

A musical comedy in 
which the star is apotheo- 
sized for her accomplish- 
ments as a gold-digger. 

Three revues in which 
costumes are spared but 
the imagination not. 

A great drama in which 
bad woman triumphs over 
chaste, missionary and is 
applauded soul fully. 

A comedy of hcaucoup 
brilliant lines and cock- 
tails where a lady upon 
becoming stiff says to a 
gentleman: 

" YVheresh my fan?" 

Gentleman: "In vour 
hand." 

Lady: "Never mind, 
I'll find it later." 



WHEN I congrat- 
ulated Adolphe 
Mcnjou upon his work in 
Chaplin's "A Woman of Paris," he replied. " Give the credit to 
Chaplin; no actor can be greater than his director." 
Now there's a nifty line for you, Confucius! 

OE the messages of farewell I received aboard the S. S. 
Majestic as I set sail for TunN, Malcolm McGregor's 
wins the Photoplay medal. Mai wired: "Remember that 
' Nearer My God To Thee' is the song to sing when the boat is 
sinking." 

INASMUCH as Rex Ingram, who was sent to Africa to make 
a picture for Metro, is spending all his time making sketches 
for Photoplay, I am going over for Photoplay to make the 
picture for Metro. It will be called "The Arab," and I will 
employ ten thousand (count 'em) harem beauties, twelve thou- 
sand little dancing girls, six regiments of trained sheiks, and 
thousands of those animals named after the famous cigarettes. 

41 






c rhe Ten 

V^ommandments " 








Every Man, 

Woman and Child 

Should See 

This Picture 



By James R. Quirk 



I HAVE never approached a review of a picture 
with such timidity, because I am fearful that 
I may appear extravagant in prodigality of 
adjectives on a motion picture subject. I shall 
endeavor to avoid them. I shall not call it a "super 
picture," nor "the greatest picture ever screened." 
nor "the greatest spectacle ever conceived by the 
mind of man." Unfortunately these adject ive> 
mean nothing in a business where they are as apt to 
gild a turnip as a lily. 

In another department of thLs issue I have re- 
viewed this picture. Here I merely wish to advise 
very one of the several million readers of Photo- 
play to see it at the first opportunity. 
In a previous issue of this publication I said: 

''Cecil B. DeMille has carved for himself out 
of lights and s/tadows a monument far more en- 
during than granite or marble. ' The Ten 
Command meats.' which will be released soon. 
is appalling in its scope and a tremendous human 
achievement in its execution. Every theater in 
which it appears will be a temple and every screen 
a pulpit, not pouring a message of words into 
heedless ears, but burning with white light into the 
very souls of men and women and children the g 
lessons of God's infinite love, of the brotherhood of 
man. of peace on earth among men. and the 
futility of strife and hate. Wouldn't it be sire. 
if, despised and censored and reviled for years, 
the motion picture should come to be i ! as 

the greatest interpreter of the Mosaic Law since the 
ancient prophet revealed the Tablets of Stone to the 
children of Israel/" 

At the time I was criticized as extravagant in my 
praise, but I repeat every word of it. If the censors 
attempt to delete a single foot of the Old Testament 
part of this picture. God knows what they would do 
to the original of the greatest document civilization 
lias produced if they got at it with their small minds 
and big scissors. 

Right now in New York, and all over the world 
in fact, there is raging a great controversy on 
"fundamentalism," a dispute regarding the Divinity 
of Christ, the Immaculate Conception, the Resur- 
rection of Christ. On each side is displayed a 
viciousness that is far removed from the spirit of 
the brotherhood of man that He taught. 

But in the DeMille visualization of the events 
leading up to the revelation of the commandments 
and the actual revelation ( CON n\i ED ON PAGE 128 ] 



Cecil Dt Mille (alwie) a>«l Theodore Roberts 
(below) odd to their laurels in "The Ten Com- 
mandments." Robots plays the role of Moses 
with marked dignity and majesty 




^rSS^SSSSSfiEE 




3ABY PEGGY looks as pleased as a chubby little kitten who has just had a canary for 

breakfast. Perhaps lt.'s because she was born — not so long ago — under a lucky star. 

Or is one! Jackie Coogan's closest rival, she is — and his most ardent admirer 




MARY PHILBIN'S wistful youth decorates that recent spectacle, "The Temple of 

Venus," and gives one Daniel Cupid something to worry about. Mary is as lovely 

and as charmingly modest, and as unassuming, as the heroine of a mid'Victorian idyl 




Edd. Morrison 



'Y'HIS wool'Stockinged, high-necked picture of Mae Murray is from her just finished 

"Fashion Row." Almost infantile, she looks, as the little emigrant girl of the first reel. 

But, oh, how she does change ! Who could keep that innocent expression on Fashion Row? 




Donald Biddle Keyes 






"PHE most popular man in pictures, Thomas Meighan, as his own lovable self. Stars 

may come and stars may go, but Tommy keeps right on glowing. And, take it 

from us, he's a whole constellation in one. Ask the Box Office — it knows! 




Abbe 



J-JAVE a good look at this— it shows our own Griffith with a smile upon his more or 

less classic face. Photographers usually put D. W. into a serious mood, but this one 

had a good line. Mr. Griffith is working on "America" — perhaps his greatest effort 




Gene Kornman 



^DELA ST. JOHNS once described Jobyna Ralston as "the refrain of a sweet, old- 
fashioned* song." We'll go Adela one better and say that she's reminiscent of a lacy 
Valentine — faintly fragrant with the perfume of mignonette and wee moss-rose buds 




PHE Magnificent Negri — daughter of a Hungarian gypsy who was exiled to death in 

Siberia — unfolds a life drama of rare beauty and poignancy. A dancer, a great actress 

and a woman of exceptionally brilliant intellect she is, like all great people, utterly frank 



The Autobiography of 



POLA 

Negri 



A?i amazing revelation 

of the youth, the pri* 

vations oj war and 

the artistic develop 

menX oj the great 

Polish actress 



Dcath,War, 

Famine, 

Exile 



In Three Parts 



T C \NNOT permit this first 
-*■ presentation of the lire story 
of Pola Negri to pass without pay- 
ing my respects to this remarkable 

in. The negotiations tor this 
amazing story were carried out by 
Miss Negri with the utmost graciousness 
and simplicity. I knew the story would 
be an interesting one, but I was not pre- 
pared to find it such a tremendous human 
document. The few who have enjoyed her 
confidence know her to be a woman or unusual 
frankness and sincerity, with a great capacity 
for friendship, and an almost slavish devotion 
to her work. My deepest impression of her is 
a feeling of wonder that a human- being could 
pass through such suffering and retain a vibrant 
sympathy for lite and in people. 

James R. Quirk 



PART I 



POVERTY and suffering in my childhood and tragedy 
always. 
Before I knew happiness I saw death. Death, imprison- 
ment, the black plague and Cossacks killing, killing. Tor- 
ture and oppression, war and revolution, starving children and 
frantic mothers, and friends shot down by my side. The Four 
Horsemen always riding over my country. 

The Cossacks! To mention them makes me shudder. Yet 
they are my first recollection. Tales of their fiendishness would 
seem to you as incredible as fairy stories. But I, with my own 
eves, have seen them riding like mad through the streets of 
Warsaw with wild cats under their arms; I have seen them fling 
these cats into a fleeing, shrieking crowd of people, and I have 
seen the exes torn out of faces. 

Happy days of my childhood. I can repeat that platitude 
only in irony. I am twenty-six years old. But I have lived, it 
seems, a hundred. 

At Yanowa, near Liepnau, in Russian Poland. I was born — a 
Polish patriot — in 1897 and christened Appolonia Chalupec, 
daughter of the revolutionist Georges Chalupec, who was 
exiled to death in Siberia. 

My father was a Hungarian gypsy, the handsomest man I 
have ever known, dark, fiery and daring. From him I inherit 
my restless temperament. He came from Budapest into Poland 
and became engaged in the manufacture of paper. Then he 
met and married Eleanora von Kielesewska, my mother. 




.1/ the age of 
fourteen, 
I /> polo nia 
Chalupec who, 
as Pola Negri, 
/pas in thrill the 
world — danced 
before the Czar 
and Czarina in 
the Imperial 
Ballet of St. 
Petersburg 



They were prosperous when I was born, with a comfortable 
country place surrounded by great trees and gardens. But the 
restiveness and revolt which characterized my father's nature 
drew him into ardent sympathy for the Polish cause against 
Russia. He became a leader of the revolutionists. 

The Polish revolution of 1905, when I was eight, took my 
father away among the volunteers. I remember the volunteers 
passing our house, my mother giving them food and drink. 
There were high hopes for Polish independence, but these were 
soon broken. My father was arrested and taken to the dread- 
ful Pavilion Citadcla. the prison for murderers in Warsaw. 
We went to see him several times. I shall never forget the last 
visit. It was in the evening. My father was unusually silent. 
I kissed him, clinging to him, and then I felt his tears over my 
face. Frightened, as by a premonition, my heart broke and I 
sobbed until they took me away. At midnight that night my 
father was sent away. He had assured my mother that he 
would escape, and she lived hopefully, but we never saw him 
again. He went to Siberia. 

My mother and I returned to our home, and my mother con- 
tinued to work in secret for the Polish cause. Tnen, one night, 
the Cossacks! They came dashing up to our house, firing at the 
windows. We hid, but they dragged us out, looted our home 
and, before our eyes, burned it to the ground. In response to 
my mother's cries they only said: "You are the wife of the 
revolutionist Chalupec." 

51 




Broken in spirit and in health my mother went to live with 
my aunt and uncle, who sent me to the Countess Plater's 
school in Warsaw. A little later my only brother died of the 
black plague, and for two years my mother was insane. . . . 

That was my childhood. . . . 

I was nervous, impetuous and violent of temper, a very 
had pupil, although I did study. When I was twelve I read 
and spoke four languages, Polish, German, Russian ami 
French. While mastering Italian I fell in love with the 
works of Ada Negri, t he Italian poetess, and when later 1 
went on the stage 1 took her name, combining it with Pol a — 
the diminutive of Appolonia — which I was always called 
from i child. 

I was fourteen when I decided that I wanted to go to (he 
ballet school. The stage had fascinated me at first sight 
when I saw a performance of "Cinderella." As it was 
necessary for me to earn a living, my aunt consented and. 
eight months later, look me to the Imperial ballet school in 
St. Petersburg. 

The training for the Imperial Indict was terrible. We were 
treated like young animals. The masters did not hesitate to 
beat us, and many times I winced under the whip. Never- 
theless, I loved the work and my one sustaining inspiration 
was my mother. I wanted to give her every luxury and care 
that 1 might revive her interest in life and restore her to 
health. 

There were glorious moments, too, when we danced before 
the court. I worked nine hours a day, specializing in Ori- 
ental dances, and was rewarded by being made a principal 
in the company. 

52 



The Czarina paid several visits io 
the school and presented us with 
little gifts. I revered her as a saint. 
She seemed to me the loveliest crea- 
ture on earth, delicate, aloof and 
ethereal in her sadnc.->.>. When, 
years afterward. I heard that she 
was killed with her husband and 
children at Ekaterinenburg I was 
deeply moved, for she was. to u> 
dancers at least . "the little mother." 

I also had jhe honor of being pre- 
sented to the Czar, and on the 
occasion of his birthday anniver- 
sary I received a beautiful gift. 

My most vivid recollection of 
those days in regal Petersburg is of 
a matinee for the court when 
Chaliapin sang. It was a great 
scandal. 

Chaliapin sang the national 
anthem with all the power and 
fervor of which he is capable. The 
nobles applauded him enthusiasti- 
cally, and he was invited to the 
Czar's box to partake of cham- 
pagne and refreshments. Imagine, 
then, the consternation when he 



/' i Negri «* the Slave of Fatal 
Enchantment in "Sumurun" cre- 
ated a sensation on (he stagi 
Warsaw, and later captured />'■ - 
lin in the same role under the 
direction of Reinhardt. It teas 
her success in this panion 
that inspired her for pictures 




—• 






"^ 



Polo iii St. Petersburg; "We dancefs were treated like ani- 
mal*." she writes. " The master did not hesitate to beat us" 



reappeared on the stage for his next number and, with 
neater power and feeling, comment ed singing the pv.it 
revolutionary songl Imagine how we fell standing there 
in the wings as we heard the > i j oi rebellion soar in the 
silence like a death knell t<> that aristocratic assemblage. 
It was glorious! My heart exulted, for 1 was a rebel, 
hating the government with all my soul. 

Chaliapin did not have a chance to finish the song. 
The nobles were infuriated by his daring, and he only 
escaped seven' punishment because he «.i> too great an 
artist to sacrifice to Siberia. 

It was with tragic disappointment that I heard the 
school physicians advise my aunt to take me out of the 

ballet. My lungs were delicate, ami they said that ii 1 

continued the strenuous exercise my health might be 
impaired permanently. 

I was not dissuaded from mj stage career, however, 
and upon my return to Warsaw I entered the dramatic 
conservatory where in one year I completed the three- 
year course. 

On October 1, 1913, I made my debut in Haupt- 
mann's "Ilannele" and Tola Negri was proclaimed an 
actress. I was dazed with the ecstasy of success. 1 felt 

as though I were enjoying another's triumph. It was 
not Pola Chalupec, but Pola Negri who received the 

(lowers and the praise and the kisses from friends. Hut 
it was Tola Chalupec who crept, weeping with happi- 
ness, into the arms of her mother in the little four-room 
apartment on the seventh tloor of the Sanatorska 
Uliza. My mother was herself again, and her health 




At the age of twelve the ■wistful little Pola had already passed through 

tragedy. A student at the Countess Plata's school in Warsaw, she had 

mastered four languages — Polish, Russian, German and French 



Pola Negri's mother who, with her little 
tin lighter, was driven from home by the 
Cossacks when hi r husband was exiled to 
Sibei : i. Afws A sgt : w itss louchvngly of 
"Uiis onlyfiiend of mine" 



was rapidly mending. Such happiness after 
such suffering seemed to me a divine gift. 

The next great thrill was when I received 
my salary at the end of the month. It was 
ninety rubles, amounting to something like 
forty-five dollars in American money at the 
rate of exchange before the war. Ninety 
rubles was a fabulous amount in my eyes. 
I rushed out to buy an armful of the most 
expensive flowers for my mother. When I 
burst into the room and threw them upon 
her, she scolded me severely for my ex- 
travagance. It was the greatest moment of 
my life. 

My year of repertoire at the Kleines 
theater was strenuous, but through it I 
gained a contract to play at the Imperial 
theater with a salary of one hundred and 
fifty rubles a month. So I did not mind 
rehearsing all day and working all evening 
on the stage. 

The thunder crash of war interrupted our 
season. Polish patriots, while detesting 
the yoke of Czaristic Russia, rallied to her 
colors in time of trouble. Troops were 
mobilized against the Germans, and there 
were wild patriotic demonstrations in the 
squares. The [ continued on pace io6 ] 

53 




llussrll Liail 



There is something almost mystic, something compelling about Sylvia Dreamer. Watch the c;ics in the portrait 
above closely. The;/ hair a curiously arresting qualili/. Is she hypnotic? She says not. But read the story 

on the opposite page and deride for yourself 



5h 




The Girl with Hypnotic Eyes 

V/hat is the weird quality possessed by Sylvia By -earner 
which enables her almost to read ones thoughts and 
which seems to set her apart, even from her real self? 



HAVE you ever analyzed the curi- 
ously arresting nature of Sylvia 
Brcamer's eyes? They are enor- 
mous, but so are cows' and 
giraffes' and Rodolph Valentino's. There is in hers something 
more impressive than mere lush- beauty. It is neither wistful- 
aess nor sorrow, neither disappointments nor dreams, yet they 
hue a strange, mystic quality which is hypnotic anci com- 
pelling, and at grotesque cross-purposes with the healthy, 
simple, practical, regular-girl attributes which compose her real 
personality. 

Sylvia B reamer is first of all a courageous, sane, well- 
balanced young woman — the sort that everyone admires. The 
secret which her eyes suggest she disclosed to me shyly, and 
only after I had stumbled upon a demonstrated revelation of it. 

A bleak autumn dusk had 
settled over the room in 
which we were visiting. It 
was not yet lamp-time. 
Sylvia sat opposite me, fac- 
ing the window. Twilight 
obliterated all her features 
but the dark, penetrating 
eyes. She was talking about 
Australia. Occasionally I 
interrupted with a question, 
to which she replied. Grad- 
ually, unconsciously, Sylvia 
began answering my 
thoughts. This might have 
been nothing but that in- 
explicable accident we call 
coincidence, but the ability 
to anticipate my questions 
made me uneasy, and when 
she repeatedly did it. I chal- 
lenged her, ''Sylvia Breamer, 
you're a diviner! You know 
the things that cats know!" 
My accusation, half-seri- 
ous, half-jocular, brought 



By Bland Johaneson 




Sylvia Breamer in a scene from " The Girl of the Golden 
West" in which she played the title role 



from Sylvia a grave and convincing account 
of this curious power with which she had 
been endowed and how it had flowed as a 
steady undercurrent in the turbulent 
stream of her life. Although they do not challenge credence, 
she is shy about confessing her occult experiences. But her 
eyes bear eloquent witness to the reality of the girl mystic 
hiding in the personality of Sylvia Breamer, picture star. 

To open her story it is necessary to resort to a movie trick, 
the flash-back, to India about twenty years ago. An officer of 
the British navy was departing with his family for Australia. 
One member of this family was Sylvia, a little daughter, and 
another washer native nurse. There is a law in Australia which 
forbids the entrance of blacks into the country for sojourns 
extending over six months. The little girl was to endure the 

first hardship of the magnifi- 
cent quantity Fate had in 
store for her, the separation 
from the devoted nurse she 
loved. The old soul shared 
the child's anguish. But 
life and law are inexorable, 
and as they bade farewell 
the little Sylvia heard her 
friend consign her to the 
mercy of Fate and promise 
that the pyschic bond be- 
tween them should acquire 
an elasticity to encompass 
the furtherest corners of 
this world or another. 
Sylvia was little more than 
a baby, but this impressive 
ceremony stands out clearly 
in her memory. The old 
woman predicted a succes- 
sion of trials for her charge, 
spiritual Hoods and fires and 
broken bridges, then a 
bright place such as only 

[ CONTINUED ON PAGE 1 26 ) 

55 



A Modern Living Room, Italian in Spirit 




The photograph* on this page air oil from the photoplay, "The White Sister." The top one inspired 

our article, and the bottom tiro are examples of the type of Italian decorations which are not only 

difficult to follow, but far l>< yond the reach of the average pockctbook 



56 



is not as Expensive as it may seem 



ti rnimi funii: had in 
Italian /.'• OflCfl style, 

thawing Uu ehoroelt 
idea <»/ grouping thefumt- 

i thai ii i /» 'i"(, 
njj In/ a simple background. 
Ft atun a i'/' //"■ iminti I and 
fin plact , the /ilmn walla 
and the floor of wide plankt 




In designing this room 

prevalent circumstances of modern life and 

living were ta\en into account. 

Modern adaptations of "Period" furniture 
are used to create a room that can he 
reproduced economically in your home 



HISTORY has it that we guide our 
future by the experience of the 
past, and in no one phase of our 
life is this so true as in the fur- 
nishing and decoration of our homes. It is only through sad ex- 
perience that we learn the tilings to accept, the things to reject 
in our scheme of home-making. So that when it. comes to the 
consideration of refurnishing. 01 redecoration, either the old or 
the new home, we tread our paths of experience warily, mindful 
of the pits into which we once fell. 

Each one of us is apt to regard "period"' furniture askance. 
We remember it as one of the pits we might have avoided. 
And rightfully so, perhaps. For "period'' furniture, as such, 
has little place in the average modern home. Most of it is too 
gorgeous, too formal, too ''stage-setty " to allow of the comfort 
that is the requisite of every home. 

Yet history, on this particular subject, offers us opportunities 
to judge from the past. We of this modern day are sitting on 
the hilltop of experience, and before us is spread the wonderful 
panorama of the decorative and cabinet-making arts of the 
ages, from which we can choose and pick those things which 
will go to make our surroundings characterful and comfortable. 
We have pointed out to us the beauties of the Classic Feriods 
— Ancient Egypt, Greece, and Rome. We have but faint in- 
terest in the Gothic period, which follows, We are most alive 
to the spirit and the possibilities of the Italian Renaissance, 
and following that, in the English Furniture of the great 
periods — which includes Early Jacobean, Elizabethan, Stuart, 
Late Jacobean, William and Mary, Queen Anne; — the Mahog- 
any period of Chippendale, Heppelwhite, Sheraton, and the 
Adam Brothers. French Furniture of the great periods, — 
Louis XIV, The Regency, Louis XV, Louis XVI, The Direc- 
toire, and the Empire — has little fascination to most of us. 
Following which comes America's great designer and cabinet- 
maker, Duncan Phvfe, in whom we are all interested. And 



By William J. Moll 



then the Victorian period, when all that 
was good in furniture and decoration in 
America was torn down and settled into 
the most morbid degeneracy, from which 
we are just recovering. 

But in those great ages, or epochs, of furniture making and 
decoration, we find points of fascination — high lights, as it were, 
of the things we would like to translate to our own needs, and 
bring into our living because they are true and beautiful. They 
are the existing things of history which serve as a guide to true 
art. Most of the time we find them impractical or costly, un- 
suited to our modern needs. And so we come to adaptations 
— forms inspired by pieces of the past, and transmuted by 
clever manufacturers into acceptable furniture for our homes. 
We say "adaptations" because they are more frequent than 
faithful reproductions. 

In designing the room which we picture to you here, we take 
our inspiration from one of the greatest periods of art and 
decoration, the Italian Renaissance. And it is strange that 
with all its gorgeousness, its costly appearance, furniture of this 
period really has qualities which are consistent with the home 
feeling. But before we go further, suppose we digress for a 
moment and recall the underlying facts of history which led to 
the creation of the Italian Renaissance — to read, if you please, 
the scenario of the play, so that we can better understand the 
action which follows. 

The Italian Renaissance — a golden age in art — began in the 
14th century, and was a natural reaction from the Middle 
Ages, in which art flourished solely for the glory of the Church. 
It was inspired by a revival of classic knowledge. Artists and 
artisans turned back to the fine examples of architecture and 
house-furnishings expressed in the work of the ancients of their 
own country. Added to this were the military and political 
conquests of the nation which brought into the country all of 
the artistry and loveliness of the [ continued on page ioi ] 

57 




™« Romantic 
Motion 



By Terry Ramsay e 



Now You Can Know How — 

A borrowed diamond and a young moustache won 
Thomas Ince the directorial job that carried him into the 
top rank of the picture makers of today. 

A luncheon at Luchow's in 1912 started Mack Sennett 
on the road to fame and fortune as the maker of the classic 
old Keystone comedies. 

H. E. Aitken started a sensational career of screen pro- 
motions with a raid on Imp that captured Mary Pickford 
and brought Carl Laemmle rushing home from Europe. 

Armed war broke out between the N. Y. M. P. and 
I ni versa] in the merry summer of 191 2, when Ince de- 
tended his studio with a Civil War cannon. 

James Cruze, a vaudevillian from Percy Williams 
circuit, sought a summer job in the pictures with Pathe 
and started the career that has made him famous twice in 
a decade. 



She was Juliet Shelby in 1912 when she made her screen ap- 
pearance in "The Nurse," a Pat Powers production for 
Universal. The years ahead were to bring fame ami a new 
name — Mary Miles Minter 



Chapter XXIII 

MOST of the crises and 
turning points of the 
history of the motion 
picture have been 
spectacular events. Pictur- 
esque, undisciplined personal- 
ities crashing in the conflicts of 
ruthless greeds have ever made 
even minor film affairs dra- 
matic. Ordinarily the mo- 
tion picture industry washes 
ils linen on page one of the 
metropolitan press and debates 
its internal troubles with a 
battery of megaphones on the 
roof. Thus it has been from 
the beginning. 

Hut one basic, fundamental, 
revolutionary fact of the de- 
velopment of the screen has 
slipped now some twelve years 
into the past without so much 
as a mention in the recorded 
annals of the industry. 

In the period of our present 
considerations, the most serious 
of the many troubles of the 
Independents in their endless 

strife against the allied picture 
makers of the Motion Picture 

Copyright isilM. by Tarry Kanmnvo 

58 




Patents Company was the problem of the raw stock, the film it- 
self, the actual, emulsion-coated celluloid strips for their cam- 
eras and projection machines. 

The Motion Picture Patents Company had an exclusive con- 
tract with the Eastman Kodak Company of Rochester. X. Y., 

the first manufacturers of film 
stock. 

This contract was of course a 
part of the general scheme of 
the Patents company for the 
domination of the business. 

Eastman film had grown up 
with the motion picture busi- 
ness. It will be recalled from 
'way back at Chapter One of 
this narrative that Thomas 
Edison's solution of the prob- 
lem of making motion pictures 
was reached only after William 
Kennedy Laurie Dickson re- 
turned from Rochester with 
the first sample of flexible cel- 
luloid photographic material. 
Edison, in his war with Bio- 
graph, had tried to maintain a 
monopoly use of Eastman 
stock, both by negotiation 
with George Eastman and by 
patents contentions claiming 
an exclusive right to the use of 
film in the motion picture 
camera by authority of inven- 
tion. But Biograph was an 
important customer and Bio- 
graph continued to get the 



Muck Sennett of Biograph went to lunch 

one day in 1912 and came back with a 

company of his own — Keystone, the 

classic of comedy tradition 



h 



e 



History °/ t 
Picture 



film. When Biograph .md Edison came to their big peace in 
the Motion Picture Patents Company in December, 1908, 
bringing into the fold at the same time all of the then exist- 
ing American picture makers, the negotiation of the desired 

exclusive COntracI was easy —because there were no other 
customers for the film. 

Thus it came that when '"Imp," "Bison Life Motion 
Pictures" and the rest of the Independents came into the 
field to tight and compete with the Patents Company group, 
they were thrown upon the resources of the European film 
makers for raw stock. 

Jules E. Brulatour, a dealer in photographic supplies and 
materials, with an establishment near Twenty-eighth Street 
and Sixth Avenue, New York, became the importer and 
dealer in various brands of foreign made motion picture film, 
chief among them Lumiere. The Lumieres of Paris and 
Lyons. France, went into the making of film well near con- 
currently with the making of the Lumiere Cinematographe, 
which was among the several motion picture projection 
machines that came from the seed of Edison's kinetoscope. 

The superior quality of the American made stock gave to 
the pictures of the licensed studios of the Patents Company 
group a vast advantage. Foreign film was produced in 
limited quantities, subjected to all the delays and difficulties 
of shipment across the Atlantic, and was besides often irreg- 
ular in its chemical, physical and photographic properties. 

The best motion pictures in the world from a photographic 
standpoint were coming from the printing plant of the Bio- 
graph, pictures made on Eastman stock by the best technicians 
that the industry had developed. The worst motion pictures 
in the world, measured by the same standard, were coming 
from any or all of the independent laboratories in the attics and 
cellars of New York. 

How large an influence this distant and technical fact has 
exerted on screen reputations of today would be hard to 
ca'culate. Certain it is that the physical quality of Biograph 
prints was a very large contribution to the success of the 
pictures which laid 



THIS revealing chapter deals with tin gun 
tys ol 1911 1 ^, w hen .< standing 
.11 ins was pari <>i tin necessary equipment <d 
man) motion picture studios. In this period 

the innocent bystander was unable to tell at a 

glance w hether tin- motion picture business was 
making melodramas or merely settling an in- 
ternal debate. The action was much the same, 
win tlur on the set or in the president's office. 
Man) ot the startling events recited here have 

lived only in the traditions of the business and 
are now recorded for the public for the first 
time. In this busy period the commercial 
alignments began which have projected them- 
selves down through the years into the struc- 
ture of the industry of today. This chapter tells 
of the beginnings of some of today's motion 
picture successes and reveals the sources of 
some of its troubles. The motion picture patron 
of today can find here curious little threads of 
destiny that have been woven into the fabric of 
the screen glories of \')-4- 

James R. Quirk. 



the foundation of 
fame for that, in- 
stitution and for the 
names of Griffith, 
Mary Pickford, and 
all those who ha\ r e 
shared in the hal- 
lowed glories of old 
Biograph tradition. 

It was not only 
true that Griffith 
pictures were better, 
but the public could 
see them better on 
the screen. Fame 
grew out of that. It 
is easier to think in 
terms of personal- 
ities than in imper- 
sonal facts, like film 
stock. Names of 
people are the 
handles to all of the 
major facts of pub- 
lic interest, includ- 
ing the Ford motor 
car. 

The toiling, sweat- 
ing, cursing and 



In the eventful year of this chapter, Hany E. Aitfo u (left) and C. ./. Hiie (light) 

played some high hands in the excitement of film politics. They appear here in the 

first office of the Mutual Film Corporation 




battling Independents yearned for Eastman raw stock, but they 
did not know how to get it. Despite the organization of the 
Sales Company combination, the Independents were as a body 
yet inarticulate. There is a strong probability that, had they 
united in a plea to Eastman supported by the facts and figures 
of their film consumption, they could have prevailed. But 
instead they did everything but ask for what they wanted. 

Among the Independents, Eastman film stock came by boot- 
leg channels in quantities just large enough to constitute 
tantalizing samples. They were ready to pay any price for it. 
The high premium on Eastman stock led to many and 

peculiar expedients, 
varying from plain 
theft to elaborate 
methods of purchase 
in the export 
markets of Europe 
and reimportation 
into the United 
States. 

Export orders in 
shipment to ficti- 
tious foreign ad- 
dresses were mys- 
teriously intercepted 
on thesteamer docks 
of New York , San 
Francisco and Van- 
couver to be turned 
about and delivered 
by stealth to the In- 
dependents' plants. 
Many a shipping 
case that left Roch- 
ester full of film 
arrived in Liverpool, 
Hamburg or 
Havre full of paving 
stones and gravel. 

( CONTINUED ON PAGE 
"7] 

59 




"You're safe now," he assured her, "and it's all over. They're both dead. They'll never bother you again" 

Not in the Scenario 

By Kathrene and Robert Pinkerton 



Drawi >i <>s b v R. Van Burcn 



In Preceding Chapters: 



DAVE MANN'S film company had gone into the Canadian wilder- 
ness to find realism, and they found it in a drama of real life — with 
their Leading man, Larry Moncrieffj as star. They discovered a mys- 
terious couple — an old musician and a beautiful girl — living in a log 
palace. When Dave's directorial instinct offended, and they were 
ordered from the place, Larry was sent back as peacemaker. There, in 
the palace, he found himself drawn into the net of intrigue. lie oxer- 
heard the girl speaking with a ruffian who claimed to he her father, 
and who threatened the life of the musician unless she went away with 
him. Larry remonstrated with her but she, to save the old man, would 
not take any advice. So Larry was forced to follow her to prevent the 
villainy of her supposed parent. Tracing the pair by their footprints, 
he overtook them at last. They, and another man, were waiting on a 
jagged boulder over a river and just — curiously- — about seventy-five 
feet from the entire motion picture company who were on the other 
bank. After a furious battle, in which both his opponents were killed. 
Larry rushed on to the rescue of the girl who was plunging, in a canoe, 
through the rapids. 

GO 



Conclusion: Chapter VIII 

Wl 1 EN the face of the crook disappeared in the angry 
waters of the Wolf-jaw, Larry stood watching the 
spot, fascinated. Yet he was not thinking of the 
fact that in the last sixty seconds he had killed two 
men, had exceeded in life anything Dave Mann had ever 
planned for his double on the screen. He was conscious only of 
a great emptiness, of futility, of the fact that Marguerite was 
gone, that he had been unable to save her. 

In that moment of enervation the spell of the rapids, and of 
what had happened there, gained mastery. His glance was 
drawn downstream irresistibly and then out of the corner of 
one eye he caught a glimpse of Dave Mann and Roy Quigley 
still standing on the little platform above the falls. 

Both were greatly agitated. Roy was still turning his crank 
with one hand, but with the other he was pointing at the big 
eddy. Both of Dave's arms were waving frantically. Suddcnly 
he turned ami scrambled up the side of the gorge. 



At thai moment Roj saw Larry watching him. Hi- aban 
doned his camera and began t<> beacon and to i»>ini wit h great, 
exaggerated sweeps of his arms and suddenly Lan y understood 
what all this meant. He turned and ran back up the trail. 

Hallway to tin- place where he had 
[ought his battle on the ledge he could 
look downstream as Ear aa the tails. 
in the eddy, the powerful waters tug 
ging at hei body, her head and shoul- 
der .md one arm only out of the watei, 
was Marguerite. 

She was alive. He saw her arm 

move slowly as if she were endeavoi 
bag t>> gel a firmer hold on the we1 
rock. Bui she was dazed, the swifl 
current was tearing at her body and 
clothing. At any moment it might 
wrench lu-r loose and hurl her over the 
falls. 

At the foot of the rapids, out in the 
lake beyond the swirling current, Larry 
caught a glimpse of a big freight canoe 
propelled by half a dozen nun. So 
rapidly had events transpired they 
were only halfway on the errand of 
rescue to which Dave Mann had dis- 
patched them. 

But what impressed Larry most as 
he looked downstieam was the im- 
possibility of rescue even when the 
woodsmen did arrive. The gorge was 
Straight walled on that side and the 
snarling water tilled it from bank to 

bank. Marguerite was caught on a tongue of rocks that ran 
out from the left side and afforded the sole means of lifting a 
canoe to the backwater beneath the falls. 

A man could be lowered by a rope, if there were one long 
enough, and strong enough, in the camp. But before they 
could return lor it the giil would have been swept away. She 
hung there, in sight of all. so near and yet so inaccessible. Her 
feeble efforts to cling to the slippery rock were plainly seen, and 
thev might fail at any moment. 

As Larry watched her, sick with horror, afraid to turn away 
and vet dreading to continue watching, he saw Bill Taylor join 
Fay and Peggy at the rim of the gorge above Roy Quigley. The 
mere presence of the woodsman gave Larry an idea, pointed out 
the only way possible to reach Marguerite in time. The next 
instant he was running back down the trail to the head of the 
rapids. 

He remembered having seen a birchbark canoe there beside 
the one in which Marguerite had been sent into the stream and 
surnv'sed that it was the Indian craft Bill Taylor had obtained 
to be used in the picture, the only type of canoe 
in which he would shoot the Wolf- jaw. 

And as Larry ran he endeavored to recall in de- 
tail the method of accomplishing the feat which 
the woodsman had outlined. 

"The current takes a canoe right around the 
first rocks if you let it go . . . Only one ticklish 
place . . . When it looks smooth, 
that's where it's bad . . . Let that 
big wave lift you over the ledge." 

Larry did not stop to weigh the 
chances of his success. He only knew 
that it was the one way of reaching 
Marguerite in time, that Bill Taylor, 
who could do it, was across the river, 
that time was precious. 

And he knew, too, that he must not 
fail, that somehow he. a tenderfoot, a 
stranger to white water, his hands yet 
sore from his first paddle blisters, 
must accomplish this hazardous task. 

Thus it was not with a prayer but 
with a tierce resolve that brought cool- 
ness and concentration on one thing 
that he slid the birchbark into the 
water above the rapids, knelt in the 
center and paddled out to midstream. 

The current, smooth and silent and 
yet irresistible, gripped the canoe and 
whirled it down toward the boiling, 



Beginning next month 

THE LOVE 
DODGER 

The most fascinating novel of 

Hollywood life ever written 

By 

Adela Rogers St. Johns 

whose stories of screen life are 

delighting millions in Photoplay 

and Cosmopolitan Magazine 



hungry smother, [n the middle ol the rivet he turned the b 

Straight down and the ne\l in l.ml tell the i old da hoi pi.i V ill 

In-, face and the frail craft plunging and lifting beneath him. 
Directly in front the savage, jagged rowol rocki whi< h gave 

I lie \\ oil jaW its II. line 10 the 

current, standing there immobile and 
awesome, rending the powerful < urrenl 
to bit-, and -i attering it in every dii 

lion. 

The canoe rushed on until Larry be- 
lieved Hill Tayloi had lied, that noth- 
ing could save him from those huge 
black teeth. Bui the thought had no 
more than Bashed through his mind 
than he saw the rocks streaming p.i-t 
on his right. The next instant they 
were gone. < 

Now he entered a si retch of water in 
which great waves lifted him like a 
feather, in which eddies jerked the bow 
this way and that, in which the back- 
lash rose up from nowhere lo smite him 
on one side and then the other. 

The turmoil, the motion, the hungry 
waves reaching high above the gun- 
wale, all were terrifying. Larry did 
not believe for a moment he could sur- 
vive. He did not see how it was possi- 
ble, but he remembered Hill Taylor's 
words: "Only one ticklish spot . . . 
When it looks smooth, that's where 
it's bad." 

Larry wondered how anything could 
be worse than the place through which he was now passing and 
l hen it suddenly occurred to him that he was still afloat, that the 
bottom of the canoe was scarcely dampened, that he was being 
borne swiftly but still alive, [continued ON fAGE.io8] 



" You're going lo 

burn HkiI film, 

l)ar<\" Uarry 

said, so sharply 

tlml Dm,- looked 

at him in 

amazement 







* -H 



-<jv. 



61 



THE NATIONAL GUIDE TO MOTION PICTURES 




Th 



THE CALL OF THE CANYON— Paramount 

HERE is a semi-western, a story of modern jazz life im- 
mediately following the close of the war, and of western 
life that you cannot afford to miss. It was made by Victor 
Fleming from Zane Grey's novel, and it contains some of the 
most beautiful scenery you have ever seen in a moving 
picture. Fleming directed "To the Last Man," and "The 
Law of the Lawless," but he has here outdone himself. 

Richard Dix, who also has one of the big parts in "The 
Ten Commandments," does some wonderful work as the 
returning soldier who, wounded and gassed, comes back, 
after three years, broken physically, to find that his old set 
are a jazz-mad crowd with whom he has nothing in common. 
Lois Wilson as the girl he left behind, is delightful, and 
Marjorie Daw shares the honors with them both. 




A LADY OF QUALITY— Universal 

UNIVERSAL has been criticized for giving the role of 
Clorinda Wildairs to Virginia Valli. But we doul>t, 
very much, that anyone else could have played it so charm- 
ingly—with such lire and passion, as well as sweetness. 

After the birth of his fifth unwanted daughter, and the 
death of bis wife, Sir Geoffrey Wildairs (Lionel Belmore) 
banishes the hated girls to the stable in back of his manor 
house, and refuses to see them. But the youngest, Clo, at an 
early age, forces herself into his heart. Raised by him to 
take the place of a son, she is taught to scorn women-made 
conventions. But she finally falls in love, with a rascal. 
And when the real love comes, this youthful affair tries to 
shadow her life. And then — the big punch. 

Milton Sills and Earl 1'oxe are the hero and villain. 

618 



Shad 



ow 




(RFC. V. 3. PAT. OFF 



A Review of the "Njew Pictures 




THE TEN COMMANDMENTS— Paramount 

THE best photoplay ever made. The greatest theatrical 
spectacle in history. The greatest sermon on the tablets 
which form the basis of all law ever preached. 

Strong words, indeed, but written two weeks after seeing 
it, after serious consideration of Griffith's "Intolerance." 
and " Birth of a Nation." It will last as long as the film on 
which it is recorded. It wipes the slate clean of charges of 
any immoral influence against the screen. 

A tremendous picture in theme and execution, "The Ten 
Commandments" will run for years in the motion picture 
theaters of the world, flashing its message continuously. 

Not orfly the screen, but religion and civilization owes a 
debt of gratitude to Cecil B. De Mille for this achievement. 
Daring in its conception because of its very massivencss it is 
the voice of inspiration and the work of genius. 

To state that a thing is indescribable is a confession of 
inability in descriptive power. We will let it go at that. 

The picture opens with a prologue in color photography, 
visualizing the persecution of the Israelites during their 
bondage by the Egyptians, the flight under the leadership of 
Moses, the miracle of the Red Sea. and the destruction of the 
idolatrous Pharaoh and his army. The screen has never 
approached this in beauty or power, yet within a few 
minutes this too is surpassed in the episode on the mountain 
top where the voice of God comes thundering and dashing 
through the darkening skies, bearing the commandments to 
Moses, the prophet of Jehovah. 

When the prologue ends it seems that any modern story 
would seem futile and unworthy. Vet the modern story 
holds its own, and is almost equally powerful. See page 42. 



SAVES YOUR PICTURE TIME AND MONEY 



The Six Best Pictures of the Month 



THE TEN COMMANDMENTS 
THE CALL OF THE CANYON 
A LADY OF QUALITY 



BIG BROTHER 
TIGER ROSE 
TO THE LADIES 



The Six Best Performances of the Month 

Mickey Bennett in "Big Brother" 

Tom Moore in "Big Brother" 

Rod La Rocque in "The Ten Commandments" 

Richard Dix in "The Call of the Canyon" 

Virginia Valli in "A Lady of Quality" 

Leonore Ulric in "Tiger Rose" 




BIG BROTHER— Paramount 

OXE of the most hum.'n pictures ever made. Rex Beach 
wrote a great story but Allen Dwan has made a master- 
piece of it in his translation of words to photography. What 
George Loane Tucker did with Frank Packard's story, 
"The Miracle Man," Dwan has done with "Big Brother." 
He has taken an unfeatured cast and made a picture in 
which every role is perfect. He has taken a comparatively 
unknown child performer and directed him right into the 
star class. Photoplay proclaims little Mickey Bennett's 
performance of a tough, East-Side kid as one of the best 
that has been given on the screen in years. It ranks with 
Jackie Coogan's work in "The Kid." 

Very briefly, the story is that of a gang leader, Jimmy 
Donovan, whose lieutenant, Big Ben Murray, is shot in a 
gang war, and dying, commits his motherless son, Midge, 
into the care of Donovan with a plea to save him from his 
environment of crime and poverty. To save the boy he 
finds that he must himself "go straight," but in spile of his 
attempt the little fellow is taken by the juvenile court and 
placed in an orphanage. Donovan is accused of a hold-up, is 
arrested, escapes, and goes out to get the gang that com- 
mitted the crime, so that he may vindicate himself, for if he 
ever hopes to get the boy back he's got to keep his record 
clean. As they say in those teasing advertisements — now 
see the picture. 

Tom Moore plays Donovan, the gang leader, and it is 
this reviewer's opinion that no one with the exception of 
Thomas Meighan could have equalled his performance. 
Edith Roberts is wonderful as Kitty Costello, "the best girl 
in the car barn district." The entire cast merit praise. 




TIGER ROSE— Warner Bros. 

T EONORE ULRIC, first of all, photographs beautifully. 

-'-'And her screen appearance is never marred by over- 
acting. In the story of the wilfully adorable, great-hearted 
French-Canadian girl, she does splendid work. 

A fur-trading post and a waif who drifts down the river on 
a raft, and into the hearts of a group of wilderness men — a 
mounted policeman, a priest, a factor and a half-breed. And 
then the advent of a young engineer — and love, interrupted 
by tragedy. Not an unusual plot — but one that gives Miss 
Ulric a chance to turn from comedy to pathos, from intense 
drama to a smiling wistfulness. The picture is entertain- 
ment of the best sort. Claude Gillingwater, Forrest Stanley, 
Joseph Dowling and Theodore von Eltz give fine support — 
and Sidney Franklin's direction is splendid. 





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TO THE LADIES— Paramount 

JOYOUSLY adapted from the Kaufman-Connolly stage 
success, and made real because of James Cruze's human- 
ness and subtlety. This director has scored his fourth 
success of the film year — a record, indeed! With a modest 
and starless cast, he has made a business comedy that will 
bring chuckles of delight and tears of joy from any little 
group of serious thinkers. 

Three young clerks are trying, very hard, to land the 
coveted position of manager in a piano factory. Two of 
them have aggressive young wives — but the third is a 
bachelor, an efficiency shark, and the favorite. Just how one 
of the wives, played by Helen Jerome Eddy, puts her hus- 
band (Edward Horton) over the wire first, is a delicious bit 
of fun. Theodore Roberts, bless him, is the factory owner: 

68 




WILD BILL HICKOK— Paramount 

THE return to the screen of William S. Hart is marked 
with much gun fighting — most of which is successful. In 
a story which he has written around a colorful character of 
the frontier towns, Bill demonstrates that he still has the 
popular appeal. A drama of love, endurance and self- 
sacrifice with a couple of tearful moments and a wonderfully 
framed-up poker game. The Pinto pony co-stars. 



THE EXTRA GIRL—Sennett 

IF for no other reason than that it brings Mabel Xormand 
back, this picture is welcome. She is one of the actresses 
that the screen cannot spare. Few have her freshness, her 
piquancy, her gift for comedy. She is a fascinating gamin, 
no matter in what she plays. There is plenty of comedy in 
"The Extra Girl" and also quite some thrills, including a 
remarkably good fight. 







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TWENTY-ONE— First National 

RICHARD BARTHELMESS appears, for a change, as a. 
1923 model youth — discarding his plumes and bare feet. 
And, in a simple story of an unwanted, misunderstood rich 
boy — who is poor because he is unloved — he scores again. 
The idea is not original, neither is the direction. But there 
is good suspense and sustained interest and the love scenes 
are youthfully tender. Dorothy MacKaill is the girl. 



THE LIGHT THAT FAILED— Paramount 

EVEN with a scenario writer who attempts to improve on 
Kipling, and a director who has his bad moments, this 
picture is worth while. Largely because of the excellent 
acting of Percy Marmont and Jacqueline Logan as Dick 
Heldar and Bessie Broke. The role of the artist, who sud- 
denly becomes blind, suits Mr. Marmont admirably. Miss 
Logan is an able second as the little guttersnipe. 









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THE MAN FROM BRODNEY'S—Vitagraph 

J WARREN KERRIGAN plays the gentleman-adventurer 
♦ hero of this George Barr McCutcheon romance. Falling 
in love with an inaccessible princess he goes in for a reckless 
life, and gets all tangled up in contested wills, savage islands 
and native uprisings. Improbable, but good entertainment; 
with a George M. Cohan finish of waving Hags, American 
gunboats and a princess willing to give up her rank! 

C4 



STEPHEN STEPS OUT— Paramount 

DOUGLAS FAIRBANKS. JR., is— according to his first 
picture — refreshingly different from the other juveniles 
of the screen. He does not try to imitate his acrobatic dad. 
In fact, in this Richard Harding Davis story, he stands 
firmly upon his own feet — except when doing a back flip 
over the railing of a balcony. Mothers will adore him — and 
so ^ill their young sons. A family picture. 




SI \-( YLINDER LOVE -Fox 

ALIGHT and very amusing photo-comedy has been 
made from William Anthony McGuire's popular play. 
Elmer Clifton lias handled it with a deft touch and has made 
the most of the laughable situations arising from a poor 
man's effort to maintain an automobile. Ernest Truex 
repeats for the camera his excellent stage performance, and 
Florence Eldredge is an able second. 



FASHION ROW-Metro 

THE best Mae Murray picture in a long time. MlSfl 
Murray plays a dual part— a temperamental Russian 
actress and her saintly younger sister. As the younger 
sister she looks like an infant Gish. Posing as a princess, the 

actress marrics^-and lives in fear of her husband discovering 
her deception. Hut when the time comes for real bravery, 
she sacrifices herself. 





SLAVE OF DESIRE— Golduyn 

FROM Balzac's "The Magic Skin." the imaginative qual- 
ity of which makes it the hardest sort of a picture to 
appear convincing. A theme that wanders sometimes, but 
that comes back whenever Bessie Love or Carmel Myers is 
on the screen. George Walsh is splendid as the leading man 
— he is making a smashing comeback, this year. Not 
essentially a picture for children, but good entertainment. 



THE DANGEROUS MAID— First National 

HERE is a fairly good story, and good entertainment, but, 
Constance, you must do better. Something must be 
done about it. A costume picture of turbulent times in old 
England, with Miss Talmadge playing the part of a high- 
bred young lady of courage and resourcefulness, with 
Conway Tearle doing his best to save her from a bad pre- 
dicament in which she has recklessly involved herself. 





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THIS FREEDOM— Fox 

THE story of a girl who grows to womanhood in an en- 
vironment of man power. And who. because of the vivid 
impressions of her youth, decides that she will shape her life 
along the lines upon which a masculine career is built. Love 
comes and marriage and children. But nothing is allowed to 
stand in freedom's way, with the inevitable result. Fay 
Compton heads the excellent English company. 



WOMAN TO WOMAN— Selznick 

BETTY COMPSON plays the part of a self-sacrificing 
dancer who, through a great love and the fortunes of war. 
becomes the mother of an illegitimate son. When the father 
— who has suffered a lapse of memory, through shell shock — 
finally appears upon the scene, he has married another 
woman. So the dancer, to give her child a chance, steps out 
of the picture in a heroic way. [ continued on page 88 ) 



65 




This picture was taken when Rodolph Valentino 
(shown at left) tea* at the height of his popularity. 
Opposite him stands Ramon Norarro, probably 
making $7.50 a dmi and then really 'the man 
in the ii,ob," just as a bit of atmosphere 



The Man 

from the JVlOD 



GOOD screen actors are — as the old Forty-niner 
used to say about gold — where you find them. 
And one of the best discoverers of new blood is 
Rex Ingram. And thereby hangs a tale. 

Mr. Ingram deserves credit for having, more than 
any other person, developed Rodolph Valentino. 
When the director had completed "The Four Horse- 
men" with Rudie as Julio, that young man was made, 
so Far as bring a star was concerned. In spite of what 
the director was doing for him, temperaments clashed 
and arguments arose between Mr. Ingram and Rudie. 
In the course of one of these arguments Mr. Ingram re- 
marked one day: " You think I can't get along with- 
out you, don't you? Well, I'll show you. I can go 
out on the set. pick a man out of the mob of extras, 
and make him just as big a star as you are." 

Valentino smiled — but Ingram did it. He looked 
over his extras, selected one, taught him, trained him, 
developed him. And the young man today is a real 
star, both because of that training and of his own 
ability— Ramon Novarro. 

66 




Edwin Bowef Heaacr 



^/[ILDRED HARRIS plays opposite Elliott Dexter in "The Way Men Love." As an 

earnest young settlement worker her wistful smile and twice wistful eyes cause great 

havoc— rand not only among the deserving poor, either! Another pleasant come-back 





Evans 



Seel; 



Malcolm McGregor made good in "The 
Prisoner of Zenda's" smallest part. And another 
Ingram discovery is on the road to stardom 



George O'Hara, of the "Fighting Blood" series, 
has been called the boy with the Jack Barry- 
more profile and the Jack Dempsey fists 





Victor Oom< 



Donald Biddle Kcyes 



Ralph Graves was chosen, from an anxious host, 
to be Mabel Normand's screen lover in her 
newest starring vehicle, "The Extra Girl" 



Rod La Roque will appear in Cecil DeMille's 
spectacular "The Ten Commandments." He 
surely looks serious enough to be one of them ! 








Monroe 



Alfred Cheney Johnston 



A promising newcomer, Allan Simpson, who 
appeared in "The Glimpses of the Moon" and 
"The Exciters" — both starring Bebe Daniels 



Not another photograph of Rod La Roque — 
this is Monte Blue. Not related in any way — 
but they might very well be twin brothers 








Hesscr 



Edward Burns is one of our most popular 
leading men. He will support Gloria Swanson 
in "The Humming Bird" — her latest effort 



Though he's still busy, on the legitimate stage, 
with "Merton," Glenn Hunter finds time to 
make another new picture every few days 




Donald Riddle Koycs 



JJEATRICE JOY, with her unusual and lovely eye-brows hidden away beneath the 

brim of a picturesque, plumed hat, is registering that "come hither" look. One of the 

featured players in ' The Ten Commandments ; A fine actress, and a star-to-be 




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May manages to look almost middle-aged in 
this shot. We hope she'll soon be disen- 
chanted; we like her best when she suggests 
youth and sunshine 

As she really is — the wistfully happy expres- 
sion of a Barrie dream. Being ugly, even for 
a rdle, must be a real adventure to May! 



You'd hardly recognize this pitifully plain little 
woman, with crooked note and the scared expression, 
as th( radiant May McAvoy. No, she had not been 
in a railroad wreck. She is only in character for her 
role in "The EnchantediJottage" 



GoSSip- 
East 6? West 

By Cat York 




AS this issue of Photoplay goes to press Rodolph 
Valentino is negotiating with Famous Players-Lasky 
Company for his return to the screen under the 
auspices of that company. Mrs. Valentino is now his 
manager. A tentative understanding was arrived at by which 
he was to make two pictures for the company with whom he 
tried to break his contract and failed. The courts ruled that 
the contract was a binding one and that he could not make 
pictures for any company other than Famous Players-Lasky. 
Evidently Rudy is beginning to realize that his continued 
absence frum the screen is not doing him any good. 

FIRST it was announced that Mary and Doug were to make 
"Romeo and Juliet"' And then there began to be whispers 



of another production in which Norma Talmadge was to be the 
tragic bride of Verona. Miss Talmadge, however, has just 
about decided against the production — she says that there's apt 
to be too much screen Shakespeare this season. And then came 
a third rumor — that Dick Barthelmess and Lillian Gish were, 
very soon, to play the immortal roles. The continuity for the 
Barthelmess-Gish production is already under way — Josephine 
Lovett, who in private life is the wife of John Robertson, the 
director, is preparing the drama for the screen. John Robert- 
son, of course, will do the directing. 

One wonders which of the three performances — if all are 
made— will be the best — the most perfect. Certainly they will 
all be interesting. Norma is, perhaps, a shade too regal — as we 
know her— for the role of the passionate sixteen year old (or 

71 



was Juliet fourteen?). But Richard and Lillian, 
pining from opposite ends of a balcony, will be 
dramatically correct. And Lillian, in her 
bridal robe, on the bier — can't you just see 
her? And weep with her? 

However, let it go on record that we'd rather 
see Doug leap from the balcony, demolish two 
enemies at once with a sword in each hand and 
a dagger in his teeth, and turn handsprings 
when overcome with emotion. And then, too, 
think of the lovely clothes; ever since "Robin 
Hood," Doug has been strong for tights! 

THE film world is mourning the loss of Allan 
Holubar, the well known director and 
actor. He leaves his wife, Dorothy Phillips, 
and a nine year old daughter. Allan and 
Dorothy Phillips Holubar were known as the 
happiest couple in the motion picture industry. 
Allan directed Dorothy's pictures, they were 
seen together everywhere, and their home life 
was of the most contented and joyous. 

Mr. Holubar was born in San Francisco 
about thirty-five years ago. His debut in 
pictures was as an actor for Universal. He 
was in the midst of directing a Metro feature 
when his death — following a major operation 
for gall stones — brought his career to an un- 
timely end. 

GLORIA SWANSON has been suffering 
from temporary blindness. "Klieg Eyes" 
— the scourge of the studio — had the audacity 




History does repent itself.' Wallace MacDonald 
and Edith Roberts, in this bit from Fred Xiblo's 
production " Thy Name is Woman.'' hare managed 
to strike almost the same attitude that they did three 
years ago when they played together in " The Fire 
Cat." Only, in the thirty-six months. Edith's hair 
has grown many shades darker. And Wallace has 
lost the splendor of his beard.' 




to attack the lovely orbs of one of the screen's fairest. Miss 
Swanson was confined to a dark room, in a hotel just off Park 
Avenue — with her eyes hidden under bandages, cooling 
cabbage leaves (one of the most effective t real men ts for Klieg 
eyes) and ice packs. She was stricken while filming "The 
Humming Bird," her latest starring vehicle. And production 
was held up, for some time, on this account. 

AND now Milton Sills is going to stage another big fight. 
Milton can't appear in a picture anymore, without some- 
body gets all mussed up! It's hard to remember that he was 
a college professor — once. 

This time it's in "Flowing Gold," Richard Walton Tully's 

72 



picture that will be made from the Rex Beach 
story of the oil fields. Milt has been signed to take 
the part of Calvin Gra\ — a two-fisted hero, if ever 
there was one! 

They tell a funny story about casting for the 
part of Buddy Briskow, who is to mix it with Sills in 
the great fight scene. One brawny juvenile, who 
luted the bill in every way. was just about signed 
up when he was told that he would have to tight 
with the hero. 

" Who is the guy? " he questioned idly, but when 
told that it was to be Milton Sills, his expression 
changed. 
"Sills, eh? - ' he choked, "Well. I've a part offered me at 
another studio. Guess I'll take that! And — " he turned, at 
the door, to offer a suggestion, "say! I understand Firpo is 
goin' into pictures. Try him — or Bull Montana! Maybe 
they'll take it." 

That last light of Milton's, in "The Spoilers," has certainly 
taken him out of the parlor class. 

MME. GANNA WALSKA. opera singer and wife of Harold 
F. McCormick, will desert the concert stage for the 
movies. She will make her debut in a production that goes 
under the working title of "The Minstrel Boy" — with Thomas 
Egan, tenor, in the title role. 

The picture i< being made by the Thomas Egan productions, 
and is an independent venture. Mr. Egan has appeared in 
feature films abroad, but it is his first appearance in American 
films. 



Photoplai Magazine Advertising Section 



^The greatest 

authority on the manicure 

perfects a liquid polish 



73 




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SOMEONE once said that liquid 
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polish. And no wonder lazy women 
were the first ones to take advan- 
tage of it. For it is so quickly and 
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But for a long time fastidious 
women who were particular about 
every single detail of smart groom- 
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Now Cutex, the greatest authority on the manicure, 
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it as you have always depended on all the other lovely 
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mover. When you are ready for a fresh manicure just 
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nails are left smooth and clean, ready for a new lustre. 

You can get Cutex Liquid Polish for 35c at any 
drug or department store in the United States and 
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THE COMPLETE MANICURE 

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On location, somewhere in France, the principals of " Terror." You will recog- 
nize Edouard Jose, the director, and our own Pearl White. The lady between 
them is a beautiful French star, Renee Gerrille. The whole cast waits, in boredom, 
for the villain to ail just his tie 



HPHE Marion Davies production, to follow 
■*- the just finished "Yolanda," will be a 
screen version of that well-loved novel,'' Janice 
Meredith." Said novel was an enormous suc- 
cess in its day, and it was also a stage success. 
Mary Mannering created the role behind foot- 
lights. 

It is, of course, a costume play. Marion 
Davies is too lovely in costumes to be sacrificed 
to the ugly gowns of the present. A revo- 
lutionary story that embraces the era between 
1775 and 1783. Many important battles 
of history will be filmed — and many historically 
famous people will be portrayed. Cosmo- 
politan promises the most elaborate produc- 
tion, perhaps, that it has ever made. 

A ND now we know why the actor and 
•^Victresses who take constant drenchings in 
the pursuit of realism do not also take their 
(hath o'cold. 

Lloyd Hamilton and Ruth Hiatt, his leading 
lady, have given away the secret. 

You see, in a forthcoming Lloyd Hamilton 
production, the star and his lovely comedy 
partner have been forced to spend days under 
a downpour of the wettest kind of studio rain. 
And, to protect themselves from the moisture, 
they have adopted a very ingenious sort of 
armor. 

First of all they grease their entire bodies 
with vaseline and then put on dry woolen 
underwear 1 doesn't it sound terrible?). And 
then, over the woolen underwear, they wrap 
layers of rubl it tissue. And over the tissue 
they don the clothing to be worn in the damp 
scene. 

And, take it from Lloyd and Ruth, they 
emerge from wetness feeling just as it they've 
I ecu toasting marshmallows in front of an 
open fireplace! 

npllF. borrowers are at it again. No star is 
■*• safe from them. Principal Pictures have 
borrowed Bel e Daniels from Paramount, and 

Paramount has also loaned l.catricc Joy to the 
Thomas II. [nee productions. Clara bow has 
been loaned to First National, by Preferred — 

and there are more, too, if we only had time 
to name them over! 

TT came as a great shock, the cabled announce- 

-*-mcnt of the self inflicted death of Mrs. 
Rupert Hughes — wife of the novelist and 
photoplay writer who i> internationally known 

and admired. Mrs. Hughes was taking a 

74 



pleasure trip through China, and committed 
suicide in an out-of-the-way corner of that 
obscure section known as Indo-China. The 
news of her death was sent by a representative 
of the Standard Oil company. 

In a statement, made by Rupert Hughes, it 
was said that Mrs. Hughes probably took her 
life because she was despondent from ill-health 
and suffering from melancholia. A little over 



a year ago she endured an operation for cancer, 
and since that time she has been in a very nerv- 
ous condition. It was to furnish her with a 
change of scene and a new interest that Mr. 
Hughes had allowed her to make the Chinese 
trip alone. He was planning to join her. early 
in the spring, in Paris. 

Mrs. Hughes was a brilliant, as well as a 
beautiful, woman. The daughter of Marion 
Manola. the famous light opera star, she her- 
self appeared for a time upon the stage. She 
i- survived by two children — Mrs. Avis 
Saunders, and Rush Hughe-, who has been seen 
upon the screen. 

VfKW YORK CITY— and the entire motion 
•*-^ picture industry, whether it lives in New 
York City or not — i- interested in the an- 
nouncement that Louella O. Parsons has 
accepted the po.-ition of screen editor for the 
Xew York American. In accepting a position 
with William Randolph Hearst. Miss Parsons 
is leaving the important position of motion 
picture editor of the Morning Telegraph. 

Louella Parsons is one of the best known 
women figures in the motion picture world. 
Though her first job was as a reporter on the 
Chicago Tribune, she quickly graduated, and 
became scenario editor for the old Essanay 
company, where -he established a record of 
brilliant judgment and became an acknowl- 
edged authority on screen matters. She was 
the author of one of the first books to treat, 
in a serious manner, of motion picture subjects. 

Upon leaving the Telegraph, to take over 
her new work. Miss Parsons was given a 
luncheon by some of the big figures of the 
motion picture and newspaper life of the city. 
The luncheon was given at the Hotel Astor. 

AXXA Q. NBLSSON wa< paid a bonus of 
several thousand dollars for the loss of her 
lovely blonde tresses — which she sacrificed to 
the production of "Ponjola." And ?o when 

[ CONTIM'l 1) OX PAGE Cj.2 ] 




Just after the latest jilm wedding. Miss BiUie Dove — screen star and "FoUies" 

graduate — promised to lore and honor Irrin W. Willat, director and producer 



Photoplai Magazine Advertising Section 



qA?i Interview with oM/s. O.H.P. Belmont 

on the care of the skin 



75 




"A woman who neglects her personal ap- 
pearance loses half her influence. The wise 
care of one's body const l nets the frame en- 
circling our mentality, the ability of which 
insures the success ot one's life. 1 advise a 
daily use of Pond's Two Creams." 

IT was in the beautiful great hall 

of Beacon Towers on Sand's 

. Point, Port Washington, Long 

SB Island, that I first talked with 

O. H. P. Belmont. 

I was excited and eager for the inter- 
view because I knew that Mrs. Belmont 
not only has given lavishly to women's 
causes from her colossal fortune, has been 
and is a tremendous worker, but also is par- 
ticularly interested in woman's special prob- 
lem of how to keep her force and her charm 
through middle life and later. 

From all this I expected to meet a very 
commanding woman the day I visited Beacon 
Towers. But Mrs. Belmont, on the con- 
trary, is quiet and gracious and sweet. She 
could not have been a more charming 
hostess. 

She herself opened the grilled iron door 
and I stepped into the big hall with its im- 
pressive mural paintings of the life of Joan of 
Arc and its wide doors opening straight onto 
Long Island Sound. Here, I felt instantly, is 
the spirit of beauty strengthened by sincerity. 

After we had admired the glorious view 
she showed me the pictures of her two sons, 
and of her grandson, who will some day be 
one of England's dukes, and — very proudly 
— the latest snapshot of her very young Lady- 
ship, a small great granddaughter. 

"How fine textured and fresh her skin is," 
I thought. "And she has just acknowledged 
herself a great grandmother!" 

'Begs Women not to U^Cjglect Themselves 

"VTOW," she was saying smilingly, "I 
-i-^l suppose you want me to tell you what 
I think is the relation between a woman's 
success and her personal appearance." 

"Yes," I admitted, "Just how important 
do yau think personal appearance is?" 

"It is vital. That is just as true for the 
woman at home or in business as for those 
who are socially prominent. 

"Don't you know," she said, "how 
often the woman with an unattractive face fails 
in the most reasonable undertaking ? Nothing 
is so distressing. Neglect of one's personal 
attractions generally comes from ignorance 
and as I am greatly interested in the success 
of women in every possible way I urge 
them not to neglect themselves." 




The Library of "cJVfks.O. H. P.Belmont 

at Beacon Toivers on Long Island, "fphere 
this inter-view -was given, 

Mrs. Belmont, now President of the 
National Woman s Party is known all 
o-ver America for her active services in 
securing the suffrage for ■■women. Mrs. 
Belmont is also interested in better condi- 
tions for women, is strong for the aboli- 
tion of child labor and for the improve- 
ment of Children's Homes. She is a 
trained architect; her three magnificent 
residences — Villa Isoletto in France, 
the famous Marble House at Newport, 
and the imposing country home, Beacon 
Towers on Long Island, being the products 
of time not de-voted to politics and business. 



••*> 
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^Pond's Two Creams 

used by the women who must keep their 

charm, their beauty, their influence. 

EVERY SKIN NEEDS THESE TWO CREAMS 



Frenchwomen say, Cleame and Protect 

YOU spend a part of each year in France. 
Do Frenchwomen use creams much?" 
1 asked Mrs. Belmont. 

"In France," she said "they have al 

used cleansing creams and protecting 
Creams, knowing that water is not enough 
and that the face cannot stand much 
strain and exposure." 
"Then you think women should use 
two creams?" 

"I know they should. That is why I ad- 
vise the daily use of Pond's Two Creams, 
so that women can keep their charm and 
influence as long as they need them — and 
that is always," she smiled. 

Use this Famous <J7fCethod 
t~^ IVE your skin these two indispensables 
^-* to lasting skin loveliness — the kind of 
cleaning that restores each night your skin's 
essential suppleness, and the freshening 
that, besides protecting, brings each time the 
beauty of fresh smooth skin under your 
powder. 

For this, two distinctly different face 
creams were perfected — Pond's Cold Cream 
and Pond's Vanishing Cream. 

Every night — with the finger tips or a piece of mois- 
tened cotton, apply Pond's Cold Cream freely. The very 
fine oil in it is able to penetrate every pore of your skin. 
Leave it on a minute. Then remove it with a soft cloth. 
Dirt and excess oil, the rouge and powder you have us«d 
during the day, are taken off" your skin and out of the 
pores. How relaxed your face is. "Do thii twice. 
Now finish with ice rubbed over your face or a dash of 
cold water. Your skin looks fresh and is beautifully 
supple again. If your skin is very dry, pat on more cream, 
especially where wrinkles come first — around the eyes, 
the nose, the corners of your mouth — and leave it on 
over night. 

After every cleansing, before you poivdcr , and always 
before you go out — Smooth on Pond's Vanishing Cream 
very evenly — just enough for your skin to absorb. Now 
if you wish, rouge — powder. How smooth and velvety 
your face feels. Nothing can roughen it. When you 
get up in the morning, after a dash of cold water, this 
cream will keep your skin fresh and untired for hours. 
And it will stay evenly powdered. 

Use this method regularly. Soon your face will be 
permanently fresher, smoother and you can count on 
the charm of a fresh, young skin for years longer than 
would otherwise be possible. Begin now. Buy both 
Pond's Creams tonight in jars or tubes at any drug store 
or department store. The Pond's Extract Company. 

GENEROUS TUBES 
MAIL THIS COUPON WITH loc TODAY 



The Pond's Extract Co. 

128 Hudson St., New York 
Ten cents ( ioc) is enclosed for your special introduc- 
tory tubes of the two creams every normal skin needs — 
enough of each cream for two weeks' ordinary toilet uses. 



Name- 
Street- 
City — 



When you write to advertisers please mention rHOTOFLAY MAGAZINE. 




1,500— Mrs. S. M. FarreU 
Ellensbvrg, Washington 



SI ,000 — Mrs. Helen K. Lucius 
Hollywood, California 



$500— Madeline E. Doupe 
Winnipeg, Manitoba 



What the 
Prize Winners 



AND now the cut-puzzle photo- 
graph contest is all over, and 
the prizes have been awarded. 
The happy winners are doing 
Pollyannas all over the country, and the 
ones who didn't win are being good 
sports about it — and are willing to 
admit that the chosen solutions were 
worthy of any prize at all. And we, in 
the offices of Photoplay Magazine, are 
happily reading a handful of letters. 
Which we will quote, in their proper 
order, to you. 

From Mrs. S. M. Farrell, the winner 
of the first prize, comes the first letter. 
She it was who sent, all the way from 
Ellensburg, Washington, a charming fan 
of orange georgette crepe and black lace. 
A work of art, really, which she had de- 
signed to hold her perfect answers. 

"I had no definite plans in mind," 
writes Mrs. Farrell, "for spending the 
prize money. You see, I never expected 
to win the prize! Now that I have re- 
ceived the money my plans are still 
indefinite. But a home has always been 
my ambition and goal, a home of my 
own. And this reward will help to 
beautify one when the time comes. For 
the present it shall be my nest egg." 

Mrs. Helen K. Lucius, of Hollywood, 
California -she won the second prize — 
has written lo tell us how she plans to 
use the money that has come to her so 
unexpectedly. 

"I have been a business girl," she 
says, "although I am now a happily 
married woman. And I feel that, be- 
cause I have earned money, 1 am per- 
haps better able to appreciate just how much a thousand dollars 
means! My intention is to buy a good bond with my money — 
and when I tell you that 1 am the mother of a baby girl of two 
you will understand, in part, what this means to me. It means 
that whatever fortune should befall me and mine, there is 




§250— Frances E. Stutter 
Decatur, Illinois 




S185—L. 1\ Stcrcns 
Portland. Or, gon 



new winter coat, in a 
concerts. A young 
won will be used for 
speaks glowingly in t 
hints of a course in 



will do with 
Their Winnings 



always a bulwark against financial hard- 
ship in my safe deposit box, thanks to the 
generosity of Photoplay Magazine; it 
means that my daughter will receive an 
education which will equip her for the 
business of life. ..." 

From the third prize winner, Made- 
line E. Doupe, of Winnipeg. Canada, we 
have received a note of thanks. A note 
which ends with this paragraph: 

" "With the prize money I receive I shall 
be able to continue my music, from 
which I have been parted for some time. 
And I shall also be able to study art. I 
hope by so doing that I shall be using 
the money to the best advantage. 

"And — I hope that the other lucky 
winners will fully appreciate their good 
fortune as I do mine, and that some who 
really needed the money most were 
among the winners.'" 

The fourth prize winner lives in 
Decatur, Illinois. She is going to put 
her share of the contest into a savings 
account. 

"• For a number of years," she writes, 
"I have been an ardent follower of the 
silent drama, as well as an interested 
reader and subscriber to Photoplay 
Magazine. And I have received a 
great deal of joy from the solving of your 
most interesting contest." 

There are so many letters, too, from 

men and women who have received some 

of the smaller prizes. One young man 

will put the money toward a course at 

law school; one woman will buy, with 

her share, a radio set for her invalid 

husband. A prize, in one case, means a 

nother it stands for a series of symphony 

mother writes us that the money she 

a baby carriage, and a tired business man 

erms of golf sticks. A middle-aged woman 

beauty culture. And so it goes. 



76 



PH0T0P1 U MAGAZINI ADVERTISING Si i n<»\ 

Jor Economical Trotupor tution 



77 



m 



CHEVROLET 



■ 




Qnaihij/ Cars a 
QvLCLixlity Prices 




Chevrolet now leads all high-grade 
cars in number sold. 

Our new low prices have been made 
possible through doubling our 
productive capacity. 

We are now operating twelve mam- 
moth manufacturing and assembly 
plants throughout the United 
States in which thousands of 
skilled workmen are turning 



out 2500 Chevrolets per day. 

Notwithstanding our recent big 
reduction in prices the quality and 
equipment of our cars have been 
steadily increased. 

Today Chevrolet stands beyond 
comparison as the best dollar value 
of any car sold at any price, due to 
its low average operating and 
maintenance cost. 



Chevrolet Motor Company, Detroit, Mich* 



Division of General Motors Corporation 



Chevrolet Dealers and Service Stations 
everywhere. oApplications will be con- 
sidered from high-grade dealers only, 
for territory not adequately covered. 



SUPERIOR Roadster 
SUPERIOR Touring - 
SUPERIOR Utility Coupe 
SUPERIOR Sedan 



Trices f. o. b. Flint, Michigan 

$490 Commercial Cars 

495 SUPERIOR Commercial Chassis $395 

640 SUPERIOR Light Delivery • 495 

795 Utility Express Truck Chassis - 550 



When you write to tdvertisers please mention FnOTOFLAY MAGAZINE. 



WHAT AN UNKNOWN AUTHOR CAN DO 




78 




Palm and olive oils 

— nothing elst — give 

nature's green color 

Soap. 

Xote carefully the 
name and wrapper. 
Palmolive Soap is 
never soid unwrapped. 








ROM across the room you see 
them. She, poised — confident; 
warm cheeks and slim shoulders; 
the woman clever enough to stay 
young with her husband. He, with pride of 
possession in every unconscious action; the 
husband who is proud of his wife. 

Yet how few women realize this simple sub- 
tlety of life! Too many of us believe the need 
of beauty caution ceases at the altar. 

Youth ! Enchantment ! The radiance of school- 
girl days. We need no longer lose them. 

The means are simple, as millions will tell you 
— just soap and water; the balmy lather of 
palm and olive oils as embodied in Palmolive. 

The correct method 

Use powder and rouge if you wish. But never 
leave them on over night. They clog the pores, 
often enlarge them. Blackheads and disfigure- 
ments often follow. Theymust be washedaway. 

Wash your face gently with soothing Palm- 
olive. Then massage it softly into the skin. 
Rinse thoroughly. Then repeat both washing 



and rinsing. If your skin is dry, apply a 
touch of cold cream. But wash regularly, 
and particularly in the evening. 

The world's most simple beauty treatment 

Thus in a simple manner, millions since the 
days of Cleopatra have found beauty, charm 
and Youth Prolonged. 

No medicaments are necessary. Just remove 
the day's accumulations of dirt and oil and 
perspiration, cleanse the pores. andNature will 
be kind to you. Your skin will be of fine tex- 
ture. Your color will be good. Wrinkles will 
not be the problem as the years advance. 

Avoid this mistake 

Do not use ordinary soaps in the treatment 
given above. Do not think any green soap, 
represented as made of palm and olive oils, is 
the same as Palmolive. Palmolive is a skin 
emollient in soap form. 

And it costs but 10c the cake! — so little that 
millions let it do for their bodies what it decs 
for their faces. Obtain a cake today. Then note 
what an amazing difference one week makes. 



Volume and efficiency produce 
25c quality for only 



:< 





CoDyrliht 1924-Thc P.lmoli»e Co. 2231 




A very bad habit is eliminated 

by this remarkable new tooth brush! 




A feature 
you'll like 

Handles are made in 
sixdifferent colors, red, 
blue, amber, green, 
purple and white. One 
for each member of 
your family. The clean 
glass container makes 
a convenient holder 
when traveling. 



CLEANLINESS is more im- 
portant in buying your 
tooth brush than in most 
any other article. Yet tooth 
brushes are often exposed to the 
most careless, dangerous han- 
dling. Many people even have 
the thoughtless habit of testing 
the bristles with their fingers — 
forgetful of the fact that fingers 
often carry infection or dirt. 

The Owens Stapletied Tooth 
Brush is protected from this 
dangerous habit. It is the only 
tooth brush that may be seen 
without unsanitary handling. 
Each one is sold in a clean, 
transparent glass container. 
Exposed to the eye, but not to 
thumbing or dirt. 

Every feature of the Owens 
represents a remarkable im- 



provement! It is made of the 
highest quality materials that 
can be bought. A wonderful 
new machine ties each bristle 
tuft permanently into the handle 
with a hidden staple. Bristles 
won't come out in your mouth! 

You'll be delighted with the 
design! The brush is small and 
shaped to the teeth. Bristles are 
wedge-shaped and spaced wide 
apar t.The handle is softly curved 
to make correct brushing easier. 

No other tooth brush can 
bring you all these advantages. 
Yet the Owens, improved in 
every way and sold in the glass 
container — costs no more than 
ordinary tooth brushes, 30, 40 
and 50 cents each in child's, 
youth's and adult sires. See it 
at your druggist's. 




OWENS 

Staple tied tooth brush 

THE OWENS BOTTLE COMPANY, TOLEDO 



What They Were 



Artist, Typist, 
School Girl, 
Butcher Boy 



Six i/nirs age Iktt it what 

Ihltnr Chadwiek wot doinQ 
Now aha employ* totntont to 

ilit this (or her 





Morjorie Daw, who is a native of Hollywood, says this is her 
most vivid recollection of her "breaking in" days 



And the first experiences that Lloyd Hughes had 
in Hollywood was when he delivered meat 

81 




Mickey Bennett v^^. 



The 7S[eu; 

Kid 



Here is Mickey — hard as his seven 
years have allowed him to grow and 
even harder in his own estimation. 
His fun — acting in "pitchers." His 
aversions — kids who look like "sis- 
sies." But he's an actor. Wait until 
you, see him in "Big Brother." He's 
going to be heard from now on 




ANEW kid came flashing 
onto the screen with the 
release of "Big Brother," 
Allan Dwan's splendid 
picture, made at the Paramount 
studios on Long Island, just out- 
side New York, and which is re- 
viewed in "The Shadow Stage" in 
this month's issue. 

His name is Mickey Bennett, and 
he takes the role of a tough little 
tike on New York's east side where 
they grow all the Tammany chiefs. 

We are going to see a lot more 
about Mickey, and now that the 
"Big Brother" has proved such a 
success some of the copycat pro- 
ducers will probably rush right in 
and make pictures with a similar 
theme. So that the new kid will 
very likely be kept bus)' for quite a 
while. 

Although he is only seven years 
old, Mickey has already worked in 
several pictures. He is entirely 
different from Jackie Coogan, so 
that it isn't fair to make com- 
parisons. Like Jackie he is a stage 
child, his parents having been 
actors. 

Mr. Dwan says he is the most 
remarkably quick and responsive 
child aetor he has ever worked with 
and confidently predicts a great 
future for him. 

When he was easting the picture 
the director interviewed a dozen 

candidates, but they were all nice. 

pretty little curly-headed chaps. 

They wouldn't do. 
Then it was that Mickey came 

into the oliu e. 

There was light in his eye from 
the beginning. 

N.' 




"You're not tough enough." said 
Mr. Dwan. 

"Listen, where do you get that 
stuff?" was the retort. "Don't try 
to make a fool out of me. First 
thing you know you'll find yourself 
talking to someone in the next room 
and you won't know how you got 
there." 

"You're hired," said the director 
quickly. 

Mickey insisted on picking his 
own gang. 

" I won't work with them sissies." 
he growled sullenly. "There ain't 
a tiiiht in the whole darned mess of 
'em." 

One scene was taken at an orphan 
asylum where Mickey was playing 
an inmate. He had never played 
baseball in his life. He had been 
brought up in a theater, and there's 
not room enough there to learn the 
game. 

So when they put him up at the 
bat in front of a hundred other kids 
he was terribly humiliated. He 
flushed red as he missed time after 
lime, but finally he cracked the ball 
on the nose and it struck the 
pitcher right on the head, bowling 
him over. Surprise and consterna- 
tion on all sides. 

"I guess that'll hold you for a 
while." yelled Mickey, and instead 
of running the bases, he swung 
around and started to beatup a red- 
headed kid who had been bawling, 
"Rotten. Rotten. Take that bum 
out." 

Then he strutted around, a hero 
in the eyes of the whole orphanage. 

Sure, they'll all tell you, that 
Mickey Bennett is a real kid. 



Photoplay Magazine Advertising Se< h'>n 



T)o Ton Envy 
the Health of Others? 

Read these remarkable statements of what 
otic simple food can do 



There is nothing mysterious about 
the action of Fleischmann's Yeast. 
It is not a "cure-all" — not a 
medicine in any sense. But when 
the body is choked with the poi- 
sons of constipation — or when its 
vitality is low so that skin, stom- 
ach, and general health are affected 
— this simple natural food achieves 
literally amazing results. 



Concentrated in every cake of 
Fleischmann's Yeast are millions 
of tiny yeast-plants, alive and 
active. At once they go to work 
— invigorating the whole system, 
clearing the skin, aiding digestion 
and assimilation, strengthening 
the intestinal muscles and making 
them healthy and active. Health 
is yours once more. 




A year ago found me morose and irritable, 
with a nervous, rundown body and ... an 
exceptionally bad complexion. Horrid pimples 
on mv face were the bane of my existence. 
One dav white sitting at a soda fountain I 
read a Flcischmann Yeast ad and concluded 
to give it a trial. . . . Within a week 1 slept 
better. Today I am a picture of health, have 
a wonderful complexion, and everyone says I 
look five years younger." 

Miss Jane Branch of 
ur/on, Tec*) 





"T 

Irrecular hours, eating !n snatches, desperate 
harry . . . nervous, little or no appetite, slept 
poorly, and worst of all suffered from constipation. 
Then I tried Fleischmann's Yeast. Almost at 
once, 'evacuation was easier, no stomach pains, 
no heartburn/ Today — 'practically complete 
elimination of bowel trouble, clearer skin, sounder 
sleep, better health.' " 

(Extract from letter of a New York reporter, 
Mr. A. Kandel) 




Up to a couple of years ago I never have 
had regular intestinal action. I worked on 
this defect in many ways — abdominal exer- 
cises, vegetarianism, occasional medicine, Or. 
Coue . . . Fleischmann's Yeast has been the 
only agent that, with me, ever produced nor- 
mal movement continuously. And as a natural 
consequence, I now feel finer in other ways — 
enjoy everything more: food, work, play. Even 
my pipe seems to smoke better!" 

(A letter from Mr. Henry J. Carro'l of St. Louis) 



1 AM a graduate nurse. Back in 191 1 while 
in charge of an operating room, I was afflicted 
with boils. I tried many remedies — still boils 
came, and I got run down and unable to carry 
on. Finally a physician told me to take Yeast. 
. . . That was twelve years ago, and I have 
never had a boil since. I have used Fleisch- 
mann's for hundreds of patients and for any 
number of different ailments. I am glad to say 
that twelve years have not dimmed my enthu- 
siasm for Fleischmann's Yeast, or stated my ap- 
preciation of what it has dope for me and for 
others in the course of my professional life." 

(Miss Ann Batchelder of New York) ] 





IXUN-DOWN and ill from overwork, I had local neuritis, 
stomach acidity and insomnia; a formidable array of enemies 
for the brave little yeast cake to tackle! Yet in two weeks 
friends began to take notice. . . . In a month my complexion 
was clear and lovely, stomach in perfect condition, nerves 
'unjangled,' gone the 'All worn out' feeling, and I was able 
to sleep like a top." 

(Extract from letter of a Chicago business rirl. Miss Dorothy Deene) 



EAT 2 OR 3 CAKES A DAY REGULARLY 



— before or between meals — plain, 
dissolved in water or milk or spread 
on crackers or bread. A cake dis- 
solved in a glass of warm water 
before breakfast and at bedtime is 
especially beneficial in overcoming 
or preventing constipation. 
Fleischmann's Yeast comes in the 
(Advertisement) 



tinfoil package — it cannot be pur- 
chased in tablet form. All grocers 
have it. Start eating it today. And 
write us for further information or 
our free booklet on Yeast for 
Health. Address: Health Research. 
Dept. G-l The Fleischmann Co . 
701 Washington St., New York 



When you write to advertisers please mention PTTOTOPLAY MAGAZINE. 



The Newest and the Smartest Thing in Shoes 




.1 close-up of a shoe 
made with a ncic 
process which can be 
itxttl for almost any 
occasion from shop- 
ping to the informal 
dance. The In el, 
while sensibly low, 
i s </ r <; c ef u 1 1 ;/ 
designed 



UNTIL recently, it was almost 
impossible for a woman to get a 
shoe that really combined beauty 
and durability. Now the shoe man- 
ufacturers have a new process called 
The Goodyear Welt, which enables 
them to make a shoe that will give 
real wear, real service, and extreme 
beauty of design. It's not a process 
owned by any one manufacturer, but 
it has brought about an almost 
revolutionary development in the 
manufacture of women's shoes. The 
Colonial style oxfords shown in these 
illustrations were posed especially for 
Photoplay by Doris Thompson, who 
has done some fine work in pictures. 



84 





1 especially for 
Photoplay hi/ Doris 
Thomp s on 



Photoplay Magazini Advertising Si i u<>\ 




Siii wattbtd tbt 
nil hading 

I. i.l, on l) 
lidtoflbtfoetligbls. 

Ill u.lt, h,J th, 

btautiful /.. 

.'1,1 h, 
plilureJ her \mtl 
Ing at him, lonit 
</,/>, ./i "'ii thai 
fait table — 
/'/i Hading Lidy 
fei /. 



k« 



The Beauty Aid 



1* 



of powder and rouge 



By Mme. Jeannette 



Why 



are there so many more beautiful women than there 
used to be? They have [earned how to make more of such 
looks as the gods have bestowed upon them. 



The trail of beauty is lightly traced 
in the careful use of vanishing 
cream and the deft handling ot 
rouge and powder puffs. 

Pompcian Day Cream, a vanish- 
ing cream, is made especially as a 
rive foundation for powder 
and rouge. Distribute it carefully 
over the face and neck ; it will dis- 
appear as you apply it, leaving a 
delicate little film that is cool and 
firm to the touch. 

Wait a few minutes so every 
particle of the cream vanishes — 
and you will find a most agreeable 
foundation for the smooth going- 
on of powder and rouge. 

Pompcian Beauty Powder is an 
absolutely pure powder, and ot 
the consistency agreeable to the 
average woman's skin. It adheres 
with unusual tenacity — especially 
when used over Pompeian Day 
Cream. It comes in shades for all 
types of women— Rachel, Nat- 
urelle, Flesh, and White. 

Pompeian Bloom is the rouge 
made ro be used with Pompeian 
Beauty Powder. It is a rouge 



compact, and while it does not 
crack or crumble, it rubs off easi- 
ly on your puff for use. 

When properly applied, it 
brings as narural a coloring as 
though a little wind had flushed 
your cheeks. Made in Light, Me- 
dium and Dark, and the new 
Orange tint. The latter tint har- 
monizes especially well with the 
Nature-He and Rachel shades of 
powder. 

Pompeian Lip Stick should al- 
ways be used when rouge is used, 
so the lips will not look pale by 
contrast. It is a natural shade of 
red for the lips, giving them a 
healthy color as well as keeping 
them in a soft condition. 



"Don'tEiivy Beauty— UsePompeiau ' ' 
DAY CREAMt vanishing) 60c per jar 

Beauty Powder oocperhox 

BLOOM (the rouge) 

Lip Stick 




Fragrance a talc) 
Night Cream 

(cold cream) 



60c per box 
25c each 

25c per can 
60c per iar 



POMPEIAN LABORATORIES. CLEVELAND, OHIO 

Also Made in Canada 



Get 1924 \ 

Pompeian Panel and 
Four Samples 
For Ten Cent* 

'f'heneweft Pompeian 
art panel, done in pas- 
tel by a famous artist 
a^d reproduced in rich 
colon. Size 2S x 7} in. 
Pol 10 cent* we will 
n-nd you all of these: 
The 1924 Beauty 
Panel, "Honeymoon- 
ing in the Alps," and 
eamplcsof DayCream, 
Beauty Powder, 
Bloom and Night 
Oram. Tear if the 
ttilip'.n new. 



-sJ 





eautyi Vowdpr 



WIMI R WAYS AT 
VOI K loll I T TAhl.l 

•. ■inn r .l.iy, ill ni.iinl alnr 

gn 11 .1 i hinge in the mannt i ol 

) 1 uir use o( powder, ph.. 
do in poiu m.iiiii' i ol dri 

The cold, tingling ail '■! 
brings about vi ry definite i lunges 
111 (lie condition ol SOUI skin. 

'l be ill in should have more 

attention now than in lununer. 

More cream ibou id be used to 

soften the skin, (.are should bi 

1 to patting the 6u <■ perfi i tly 

dry after touching 11 with w.itcr, to 

prevent chapping or roughening 

7 he Inundation fur your pn U ,1, f 
When the frost is in the air there 

is very special reason for you to 

use Pompeian D.iy (.ream as the 

for your powder and rouge. 

ii is a disappearing cream ihat 
touches your skin as lightly as a 
kiss, yet it leaves a beneficial film 
of proiec tion to which your pow- 
der will adhere for hours at a time. 

Over this in visible layer of cream 
you may use your powder gener- 
ously. 

Powder protects your skin 

Pompeian Beauty Powder certainly 
enhances the loveliness of your 
skin. Fven if you neglect to put 
on your powder as often as neces- 
sary in the house, never go out 
into the winter weather without 
careful attention to your use of 
powder. 

With your winter clothes you 
rec/utre pinker cheeks to give your 
eyes brightness, and to obtain that 
excjuisne appearance of sparkle 
andglowing health. After powder- 
ing comes the application of Pom- 
peian Bloom. This is a compact 
rouge that blends perfectly with 
your powder, anu that adds a 
natural color. The new Orange- 
shade is very popular. 

Pompeian Lip Stick gives the 
delightful appearance of youthful 
freshness to your mouth. It comes 
in a dainty gilt container, conve- 
nient for your hand-bag or your 
dressing table. 



85 



G52Za2C?CT5S2I2X2 



£ 



Specialist* en Beauie 



kv 



TEAR OII-. SIGN AND SEND 

POMPEIAN LABOR A I ok 11 

21. 'il I'j;. lie Avenue, Clcvrlanri. Oh 

Gentlemen: I enclose 10c (a di 
1924 I'oinpeian Art Panel, ** Horn 

ili'l Ihr f'-uf 









■ owdof wanted'. 



. State- 



When you write to advertisers [.lease mention PHOTOPLAY MASXZINE. 



86 



Photoplay Magazine — Advertising Sectk n 



Why You, too, Can 
Have Beautiful Hair 



How famous Movie Stars keep their hair 
soft and silky, bright and fresh- 
looking, full of life and lustre. 



BEAUTIFUL hair is no longer a matter 
of luck. 

You, too, can have hair that is charm- 
ing and attractive. 

Beautiful hair depends almost entirely 
upon the way you shampoo it. 

Proper shampooing is what brings out 
all the real life and lustre, all the natural 
wave and color and makes it soft, fresh 
and luxuriant. 

When your hair is dry, dull and heavy, 
lifeless, stiff and gummy, and the strands 
cling together, and it feels harsh and dis- 
agreeable to the touch, it is because your 
hair has not been shampooed properly. 

When your hair has been shampooed 
properly, and is thoroughly clean, it will 
be glossy, smooth and bright, delight- 
fully fresh-looking, soft and silky. 

While your hair must have frequent 
and regular washing to keep it beautiful, 
it cannot stand the harsh effect of ordi- 
nary soaps. The free alkali in ordinary 
soaps soon dries the scalp, makes the hair 
brittle and ruins it. 

That is why leading motion picture 
stars and discriminating women, every- 
where, now use Mulsified cocoanut oil 
shampoo. This clear, pure and entirely 
greaseless product brings out all the real 
beauty of the hair and cannot possibly 
injure. It does not dry the scalp or make 
the hair brittle, no matter how often you 
use it. 

If you want to see how really beautiful 
you can make your hair look, just follow 
this simple method. 

A Simple, Easy Method 

FIRST, wet the hair and scalp in clear 
warm water. Then apply a little 
Mulsified cocoanut oil shampoo, nibbing 
it in thoroughly all over the scalp, and 
throughout the entire length, down to the 
ends of the hair. 

Two or three tcaspoonfuls will make an 
abundance of rich, creamy lather. This 
should be rubbed in thoroughly and 
briskly with the finger tips, so as to loos- 
en the dandruff and small particles of dust 
and dirt that stick to the scalp. After 
rubbing in the rich, creamy Mulsified 
lather, rinse the hair and scalp thoroughly 
—always usinu clear, fresh, warm water. 
Then use another application of Mulsified, 




Patsy 
Ruth 
Miller 



again working up the lather 
bing it in briskly as before. 

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through vour lingers. 



Rinse the Hair Thoroughly 

THIS 
fins 



After the 
and scalp 



LS is very important, 
lal washing, the hair 
should be rinsed in at least two changes ot 
good warm water. N\ hen you have rinsed 
the hair thoroughly, wring it as dry as 
you can » and finish by rubbing it with a 
towel, shaking it and fluffing ir until it is 
dry. 1 Inn give it a good brushing. 

After a Mulsified shampoo you will 
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QUESTIONS a h d ANSWERS 



J. D. H., Tampa, Fla. — Is Lionel Barrymore 
married? I'll say he is. Much. To Irene 
Fenwick, who is appearing in the play, 
"Laugh, Clown, Laugh," with him. Charles 
de Roche is six feet tall. Pola Negri is the age 
which Balzac thought so alluring that he wrote 
a novel about "A Woman of Thirty." 

D. Y., New York, N. Y— A frank state- 
ment of your platform: "I am fifteen. I 
have just been graduated from High School. 
Like all other silly girls I want to be a motion 
picture actress. And I must know all these 
things about my favorite stars." Of a cer- 
tainty, D. Y., Monte Blue was born in 1890. 
He was divorced last year from Gladys Blue. 
Some of his most famous pictures are " Bra-> " 
and "Main Street." His latest completed 
picture is "Cap'n Dan." He was with Mac 
Mar^h in "Daddies." Rod La Rocque is not 
a relative of Monte Blue. Mr. La Rocque 
was born Nov. 29, 1898. He is not married. 
Recent pictures in which he appeared are 
"Slim Shoulders," "Notoriety" and "Ten 
Commandments." Mae Murray's birthday 
was May 9, 1886. Monte Blue supported her 
in " Broadway Ro^e," and Rod La Rocque in 
"The French Doll" and "Jazzmania." 

Helen, Pittsburgh, Pa. — Having seen 
Bert Lytell in person at a theater you want to 
know all about him. You are welcome to all 
I know, Helen of Troy, I mean Pittsburgh. 
He is escaping the harsh winter winds by a 
trip to Algiers. But not for pleasure alone. 
There he will help to film "A Son of the 
Sahara." Mr. Lytell's age is thirty-eight 
years. His height is five feet ten inches. As 
you may, or may not, have observed, according 
to the lighting of the theater, his eyes are hazel 
and his hair brown. 

Diane of Saskatchewan. — Where'd you 
get the "slim, aristocratic fingers" stuff, 
Diane? Tell all I know about Conway 
Tearle? Oh. Diane! He's very handsome, as 
you have noticed. The girls like him, as you 
must have suspected. He was a matinee idol 
on the stage. He was leading man for Grace 
George. Born of English parents, connected 
with the stage. Tearle is a famous name of 
the theater in England. He is darkly romao- 



V/OU do not have to be a subscriber to 
* Photoplay Magazine to get questions 
answered in this Department. It is only 
required that you avoid questions that 
would call for unduly long answers, such as 
synopses of plays, or casts of more than one 
play. Do not ask questions touching reli- 
gion, scenario writing or studio employment. 
Studio addresses will not be given in this 
Department, because a complete list of them 
is printed elsewhere in the magazine each 
month. Write on only one side of the paper. 
Sign your full name and address; only ini- 
tials will be published if requested. If you 
desire a personal reply, enclose self -addressed 
stamped envelope. Write to Questions and 
Answers. Photoplay Magazine, 221 W. 57 th 
St.. New York City. 



tic, as you have not failed to observe. He is 
five feet eleven inches tall and weighs twenty 
pounds less than two hundred. A hefty fel- 
low. His age is forty-three. His wife is 
Adele Rowland, singer. 

Olivia, St. Louis, Mo. — You say you are 
eighteen and "just the age at which most girls 
are boy crazy." Then, with the craftiness of 
your sex, you sidestep and demurely add that 
you have "experienced several little romances 
though none was very serious." Again craft, 
for you congratulate me on my "wonderful 
brain." Leatrice Joy's latest picture is 
"Triumph." Gloria Swanson has been di- 
vorced twice. Her latest picture is "The 
Humming Bird." Write her care the Para- 
mount Studio, Long Island City, for her photo- 
graphs. 

M. B., New York. N. Y. — The article on 
"How I Discover Them" appeared in the June 
number of Photoplay Magazine, 1923. 

Ashton, Franklin, La. — I salute you, 
serious son of the South. The Pearl White 
serial to which you refer is "The Black Secret." 
A brilliant idea of yours that we "get the habit 
of saying 'Our Norma.' " Let's begin at once, 
Ash. Richard Barthelmess' last picture is 
"Twenty-one." Conrad Nagel, your em- 
phatic choice of a successor for Wallace Reid. is 
twenty-eight. His height is six feet. Anna 



Q. Nilsson's middle initial stands for "Quer- 
entia." 

Mrs. May, Astoria, Long Island, N. Y. — 
I've been looking at the picture to which you 
refer. I'm for the coat of light color with the 
dark collar, Mme. Brevity. 

Betty of Iowa City, Iowa. — Very well for 
the first time, Miss Betty. Your favorite 
actor, Thomas Meighan's birth year is 1879. 
I would write to the Lasky Studio, Hollywood, 
for his autograph. And enclose a quarter. 
He lives in New York or in California accord- 
ing to the needs of his picture producers. 
Leatrice Joy is married to Jack Gilbert. A 
request for her photograph should go to the 
same destination as that for Mr. MeighanV 

Helen M., Kokomo, Ind. — I remember you, 
Helen. Glad to have another letter from you. 
The copy of Photoplay Magazine that had 
Betty Blythe's picture on the cover was 
September, 192 1. That which bore Nita 
Naldi's was December, 1922. The studios to 
which you should write for the photograph- 
you wish are Corrine Griffith's, Associated 
First National, United Studios; Nita Naldi's, 
Lasky Studios; Barbara La Marr, First Na- 
tional Studios. 

"Jtjsta Ntjtt," Austin, Tex. — You~end 
your letter with "Yours Ivor Novello Crazily." 
And you "couldn't keep from crying when you 
saw 'The White Ro>e' not only because of the 
play but because Ivor Novello is so wonderful." 
A tribute so genuine merits prompt attention. 
Mr. Novello is of English birth. He is the son 
of Madame Clara Novello Davies, the vocal 
instructor. Mr. Novello is himself a musician, 
having written "Keep the Home Fires Burn- 
ing." He is not yet thirty. At the time I 
write this he is appearing on the London 
Stage. 

J. A. M., Brockton, Mass. — Hello! Are 
you imposing upon the credulity of the poor 
old Answer Man with tho>e initials? I have 
a sweet tooth. A full >et, thirty-two of 'cm. 
Vincent Coleman of Mae Murray's company 
in "Fascination" is married to Marioric Grant. 
She is an actress. [ continued on page 107 ] 

87 



88 



Photoplay Magazine — Advertising Section 




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The Shadow Stage 

[ CONTINUED FROM PACE 65 ] 



THE SHEPHERD KING— Fox 

•"PHE story of David, the militant psalmist, 
■*■ done very well indeed by an Italian com- 
pany — with Violet Mersereau, of erstwhile 
American fame — as the heroine. A Biblical 
theme made very real, except for some of the 
battle scenes which are badly directed. Often 
it's quite impossible to tell who shot what off 
of who's head, but the David-Goliath fight is 
well staged and convincing. An interesting 
effort. 

NAME THE MAN—Goldwyn 

A DAPTED from Hall Caine's story" "The 
-*VMaster of Man" — with a poorly assorted 
cast of players. This is not another "The 
Christian," it is, instead, a distorted narrative 
of a man who can never seem to choose between 
love, duty and justice. The director. Victor 
Seastrom, has over-played the long arm of co- 
incidence and has dallied too much with con- 
trasts. Conrad Nagel, Patsy Ruth Miller, 
Mae Busch and Creighton Hale. 

THE UNKNOWN PURPLE— Truart 

HTHIS stage success has lost something of the 
-*- suspense that made it a footlight thriller. 
But the lighting effects and technical devices 
have been so well managed that much can be 
forgiven. The story of an inventor, wrong- 
fully sent to prison by his unfaithful wife, who 
comes back to seek revenge with the aid of a 
mysterious purple light which renders him 
invisible. Henry B. Walthall stars — doing 
good work, but seeming old and tired. 

AROUND THE WORLD IN THE 
SPEEJACKS— Paramount 

TTHIS is one of the best and most complete 
-*- travel pictures that has ever been given to 
the public. It's a pleasantly intimate sort of 
thing that will give an audience a cozy feeling, 
even while a flock of cannibals are dancing 
around a steaming kettle. The titles and 
editing, done so very well by Terry Ramsaye. 
add greatly to the charm of the thing— make 
it, in fact. 

IN THE PALACE OF THE KING— 
Goldwyn 

TTHIS screen version of Marion Crawford's 
-^ novel is beautifully staged and costumed 
with care and good taste. The locale is Spain, 
and the action takes place all in one night. It 
is a shame, with the loveliness of the settings, 
that the direction and casting might not have 
been better. The story has been told care- 
lessly, without finesse or attention to detail. 
Blanche Sweet is perfect as the heroine. She, 
and Pauline Starke, are the bright spots. 

HER TEMPORARY HUSBAND— 

First National 

SLAPSTICK of the better sort, featuring 
Owen Moore, Tully Marshall. Sidney Chap- 
lin and Sylvia Breamer. A riotous business of 
false white whisker-, long chases through tap- 
estried halls, and falls from high windows. A 
strange will, compelling the heroine to be a 
widow before she heroines an heiress, cause- 
all the trouble. Sidney Chaplin does a bit of 
pantomime worthy of his brother. Laughter 
for everybody. 

THE MAILMAN— Film Booking Office 

HAVING done right by the policeman, the 
fireman, and the engineer. Emory Johnson 

has turned his attention to the man who sees 
that our letters arrive promptly (especially on 
the lust of the month). Full of human 
touches, homely humor and fool proof pathos, 
with Ralph Lewis making an audience like 



him, despite its better judgment. All the 
usual hokum, with the addition of aeroplanes. 
For the family, by all means! 

WHITE TIGER— Universal 

A STORY of two crooked men and a crooked 
■* *■ girl who — to quote from the nursery 
rhyme — Lived very crooked lives. When the 
time comes for them to put over the big job 
they get an attack of "white tiger" — which, 
in underworld parlance, is something like cold 
feet. But it ends nicely with the ringleader 
dying and the rest being reformed. PriscLLLa 
Dean, Matt Moore. Wallace Beery and Ray 
Griffith. 

THE THRILL CHASER— Universal 

A HOOT GIBSON special in which one of 
-* ^- our best cowboys goes to Hollywood. 
With him we visit a number of sets, meeting 
directors and stars in the best comedy manner. 
And then, still with him, we go to Arabia 
where he becomes, for a brief and colorful 
period, a sheik of sheiks. This is genuinely 
amusing from start to finish — with some sus- 
tained suspense to lift it out of the common- 
place class. Well worth seeing. 

MAYTIME— Preferred Pictures 

"IT'S hard to transfer a tuneful musical comedy 
-•-to the screen, without 'losing the greatest 
part of its charm. In "Maytime" this fact 
is especially evident — for as a stage success it 
was light and lovely, and on the screen it is 
heavy and dragging. A love story that 
stretches through three generations — stretches 
so far that it ceases to be elastic. Xo out- 
standing performances. 

THE DAY OF FAITH— Golduyn 

A POOR imitation of "The Miracle Man." 
■**■ Most of the situations strike the observer 
as impossible, almost every climax seems 
absurd. The story of a humanitarian creed, 
and of a sweet young girl who tries to give it to 
the world. The creed, however, seems silly 
instead of sublime. The girl, Eleanor Board- 
man, is charming, and does . good work. 
Raymond Griffith, as a reporter, also con- 
tributes a fine bit. And that's alL 

HALF -A-DOLLAR-BILL— Metro 

"TTALF-A-DOLLAR-BILL" is a fresh salt 
-*- ■'•water tale. Portions of it need to be 
taken with a grain of salt. but. on the whole, 
this story of a foundling adopted by a sea 
captain is convincing and interesting. The 
child is discovered with half of a bisected 
greenback pinned to its clothing — which gives 
us the title. From that point on there is 
plenty of action. 

WHY ELEPHANTS LEAVE HOME— 
Pathe 

THIS, although it has no sex appeal, should 
prove an interesting box office attraction 
For it tells, in detail, how elephants are trapped 
and are dragged, protestingly. from their native 
jungle. If it seems, to some of us. that it's a 
mean trick to play on a nice, peaceful flock of 
elephants — there are others who will find the 
struggles of the captive beasts amusing. 
Educational, of a sort. 

PIONEER TRAILS— Vitagrapli 

AX attempt to ride to popularity over paths 
made safe by "The Covered Wagon." 
With a resulting jumble of love, excitement 
and suspicion against an apparently blameless 
hero. The acting honors go to Otis Harlan 
and a baby donkey — although Alice Calhoun, 
Cullen Landis and various other near-stars 



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I decorate the cast. An Indian attack upon a 
wagon train is the best bit — the rest is old- 
fashioned melodrama. 

UNCENSORED MOVIES— Pathe 

YWTLL ROGERS tries, very unsuccessfully! 
*Y to be killingly funny. He impersonates 
various motion picture stars, including Valen- 
tino, Tom Mix and Bill Hart. And doesn't 
make any one of them worth a great deal. 
The title writer throws in a word now and then 
and makes things worse than ever. Why did 
Will leave his rope out of the script, anyway? 
And why is this called a comedy? 

THE WHIPPING BOSS— Monogram 

A SERMON against the evils of the convi' t 
■**■ leasing system — with the evils exposed 
brutally, and in detail. This picture should 
do a lot of good, but it isn't easy to watch. 
The American Legion is the St. George that 
slays the dragon of viciousness, and the story 
is taken, almost intact, from an actual occur- 
rence. Barbara Bedford, Lloyd Hughes and 
Eddie Phillips head the cast. 

THE RED WARNING— Universal 

SLOW movement cannot be urged against 
this piece in which a lost mine, attempted 
claim jumping and the w.k. cattle thieves keep 
the plot boiling. Jack Hoxie establishes jus- 
tice after instigating a war between the ranch- 
ers and the rustlers, and incidentally gets 
himself a bride. There's enough shooting and 
riding to have satisfied Buffalo Bill. 

SOUTH SEA LOVE— Fox 

YWTLLIAM FOX usually hitches his pic- 
W tures to a star, and he has been fortunate 
here in his hitching post. However, even 
Shirley Mason couldn't save from mediocrity 
this very ordinary 7 story by the Hattons. A 
maid is in love with a man. He proves to be 
married, but his wife dies in due time and all's 
well. 

THE MASK OF LOPEZ— Monogram 

TJ REATHES there a man with soul so dead, 
-'-'who never to himself, hath said, "I've had 
enough of all these westerns?" For the 
678,954th time we have the girl ranch owner 
being robbed by the cattle rustlers, the ring- 
leader proving to be her foreman. This is a 
case where the horse is the thing. 



WHEN ODDS ARE EVEN— Fox 

HPWO rival companies are 
■*■ of a mine on the Islai 



out to get control 
and of Pago Tai. 
Needless to say, the one represented by 
William Russell wins. Also needless to say 
there is a pretty girl who figures conspicuously 
and decides to change her name from Miss to 
Mrs. when the hard fighting is oxer. It is ;i 
mixture which comes to nothing. 

THE DANGEROUS HOUR— Johnnie 

Walker 

HP I IF. heroine pursued by a villainous mine 
■*- owner, asked for a husband to save her. and 
got him — through the roof. This plausible 
incident, brought about by Eddie Polo's aero- 
plane tumbling into the lady's home. i> typical 
of the picture. 



YESTERDAY'S WIFE— Apollo 

A DESERTED husband was lonesome. A 
-< v jazz-loving telephone girl was lonesome 
too. They married. But it didn't take. 
After Fate obliged by drowning the bride, the 
husband was happily reunited with •yester- 
day's wife." The whole matter -trikes one as 
a tempest in a teapot. 

THE NEAR LADY— Universal 

■"PHE invention of a sausage-machine results 
■*- in the transformation of Gladys Walton 
from a mere manicurist into a lady of social 
position. Presented as a comedy-drama, this 
is neither comedy nor drama, and one wishes 
that some physician had amputated what the 
title writer doubtless regards as his seme of 
humor. 



THE MIRACLE MAKERS- 
Exhibitors 



-Associated 



A LONG foreword tells us that 'The Miracle 
* *■ Makers'" are the brides, who "sacrifice 
everything" to continue the census. In spite 
of this typical movie motif, enacted by Leah 
Baird. the story proves to be the old hodge- 
podge of virtuous heroine, bold villain and 
Chinese dens. 

FASHIONABLE FAKERS— F. B. O. 

"pIYE minutes after all due credits have been 
-*- given, you know that Johnnie Walker, em- 
ployed in a phoney antique shop, means to 
marry the girl next door, and just what will 
happen while he is trying to do it. The little 
that couldn't be guessed, you'd do as well to 
take for granted, and go quietly home. 

THE SATIN GIRL— Apollo 

TF we may believe authors, lady crooks may 
•^steal. and blackmail, and commit murder, 
but chastity is their middle name. The 
heroine is under the spell of a hypnotist. She 
steals from the rich to give to the poor, and 
after each "haul" leaves a fragment of her 
satin dress. An infant in arms could have 
captured the sinning lady, but she fools the 
entire police force. 

ENEMIES OF CHILDREN— Mammoth 

•""THE uncertain parentage of a little waif 
-*• adopted by a wealthy family, covers a mul- 
titude of reels in this film. The author goes 
all around Robin Hood's bam to prove that 
the child is not only an heiress but related to 
her benefactors. Virginia Lee Corbin plays 
the first half of the heroine's life, and Anna Q. 
Nilsson is good in the latter half. 

CUPID'S FIREMAN— Fox 

CHARLES JONES determines to become a 
fire-fighter like his dear old Dad. In doing 
so, he adopts a little orphan, A mk, as his "pal." 
His next step is to fall in love with the premier 
danseuse of the "opry" house. Later he 
rescues her from a blazing building in which 
her drunken husband is gently but firmly re- 
moved from the plot. Mr. Fox has dedicated 
the piece "to the firemen the world over." 



If you arc looking for intensely interesting fiction — fiction with 
unusual plot, suspense and humor — you can not afford to pass by 

THE PAVED JUNGLE b, f™* r. Ad** 

It is a story of extraordinary situations and surprises. 
On page' 34, this issue. 



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a thick creamy lather of Resinol Soap. 
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irritations, roughnesses , blemishes or rashes, 
apply a touch of Resinol Ointment and 
smooth it in very gently with the fingers. 
Do not rub or massage with harsh methods. 
If possible, leave it on over night. Then in 
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Send in the coupon below for free trial 
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SOAP and OINTMENT 




Send this coupon today for free trial packages 



Dept. 5-C, Resinol, 
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Please send me, without 
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of Resinol Ointment. City - 



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Street 



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Photoplay Magazine — Advertising Section 



** Charles Strickfaden, eaxophoniot^JM 
toith Max Fischer's Orchestra, ia « 
amono the many leading players who J 

k- two and endorse the Conn saxophone JL 



Ok CONN 
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Doug Fairbanks couldn't find just the man to create the role of the lazy, good 

natured Persian prince who is one of the princijxil characters in ''The Thief of 

Bagdad." So he sent over to France for a certain fair Parisienne to play the part. 

Here she is, in costume — Mile. Mat Comont 



Gossip — East and West 



[ CONTINUED FROM PAGE 74 



the director asked Jimmy Adam?, of Christie 
Comedies, to have his head shaved, the boy 
did so in a manner that combined willingness 
and trust. Of course his hair, he realized, 
was not worth the same sum that Anna's 
golden locks had brought forth. But it was 
good hair, never the less; it was his hair — and 
worth something! 

But the director, having used Jimmy — bald 
head and all — didn't mention any bonus. And 
now the comedian is wailing for his hair to 
grow before he can appear again upon the 
screen. And he is nursing both a barber's 
I ill and a grouch. 

INCIDENTALLY, Anna Q. Nilsson has been 
■*cast as the heroine of "Flowing Gold," to 
play opposite Milton Sills as Calvin Gray. 
Others of the cast will be Josephine Crowell, 
as Ma Briskow; Bert Woodruff as /',; Briskow, 
John Roche, finally selected as Buddy Briskow, 
Sills sparring partner, and Charles A. Sellon 
for Tom P.irkrr. Joseph l)e Grasse will direct 
the picture. And— a rare bit of news for the 
old tuners — Cissie Fitzgerald will be a member 
of the cast, also. Cissie's wink, some twenty- 
6ve years ago, was the essence of all theatrical 
wickedness. It went with Olga Nethersole's 
kiss, Alison Skipworth's back and Anna field's 
milk baths. One wonders if the wink will 
come to life, again, for the silver sheet? 

■p\OUG. FAIRBANKS, JR., demonstrated 
■j-^at the wreck of the Twentieth Century 

limited, recently, that he was made of real 



off-the-screen ^tar stuff. Though just a boy, 
he was of real service to the doctors, helping 
them with bandages, running errands, and 
bringing mislaid and hysterical families 
together. 

"My first thought,"' he said, "when the 
crash came was of my dog" (a magnificent 
chow) "who was sleeping in an upper berth. 
When I found out that he was safe, the two of 
us went out to help." 

According to one of the attendant physicians: 

"I noticed one young man who worked like 

fury. He was everywhere. He even helped 

with the dressings. I didn't know, at the 

time, that he was young Fairbanks." 

MARTHA MANSFIELD has left the screen 
— forever. Just upon the eve of Icing 

named a star she was called aside — her death 
coming from burns received on location. 

It was while they were making "The War- 
rens of Virginia," and Miss Mansfield — ver\ 
lovely in her hoop-skirted. Civil war costume- 
had stepped forward for an interior scene. 
She paused for a moment to speak to a little 
extra girl, who was passing, and — in that 
moment — a careless smoker tossed a lighted 
match to the ground. One lacy ruffle touched 
the nearly-extinguished splinter of wood— and, 
in a second. Miss Mansfield was a living torch. 

Her director, her leading man. her chauffeur, 
rushed forward. They tried to smother the 
flames — and succeeded. But they were just 
a bit too late. She died a day later trom the 
burns received and from shock. 



Every advorUsemerjl In PHOTOPLAY MAGAZINK is guaranteed. 



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94 



Photoplay Magazine — Advertising Section 



CLOSE-UPS 




What does 



Your Nose Register? 

Long, pointed, hook, pug, shrew? 
THEN CORRECT IT by a pain- 
less scientific method AT HOME 

YOUR daily life is a constant"close-up" — 
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Model No. 25 is upholstered inside with 
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Model No. 25 is guaranteed, and corrects 
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// you wish to hare a perfect looking nose 
write todav for my free booklet which tills 
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send It to M. Trllety, liliu'lumiton. 
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noses. Your money refunded If you 
arc not satisfied, is his guaranty. 



M. TRILETY. 

1 957 Ackerman Bldg., Binghamton, N. Y. 
Dear Sir: Please send me, without obligation, 
your booklet which tells how to oorreol ill- 
shaped noses. 



N'ami-. . . . 
Street \"i>. 



Town Btate 



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Gloria Swanson as Toinette, in " The Humming Bird." We'll say that she's an 

appealing tovgli little gamin, if there ever was one. Guess what she's about to say — 

speaking with eyes and lips at one and the same time. Yes, you're right! 



Miss Mansfield was just twenty-two years 
old. A former "Follies" girl, and one of the 
beauties of the nation. She made her first 
screen success as the leading lady for John 
Barrymore in his production of "Dr. Jekyll 
and Mr. Hyde." 

THE Famous Players-Lasky Company were 
satisfied with one picture of Douglas Fair- 
banks, Jr. They did not see fit to take advan- 
tage of their option on three more pictures. 
Director Henabcry, who made a very good 
picture out of "Stephen Steps Out," young 
Fairbanks' first and only film, declined to make 
another picture with him. It is understood 
that he resented the constant attempt at super- 
vision of the picture by the boy's mother. 

BARBARA LA MARR has signed a contract 
to make four pictures for First National, 
Their names have not been announced, but 
the contract has been made with Richard Row- 
land, of first National, and the pictures will 
be made under the personal supervision of 
Arthur II. Sawyer. 

Miss La .Marr has been free lancing for some 
time. 1 lor rise to fame, during the past two 
years, has been almost phenomenal — until one 
stops to consider her remarkable beauty and 
her real ability as an actress. "The Eternal 
City" places her. without a shadow of ques- 
tion, in the front rank of the stars. 

IT was twenty years ago that John Bowers — 
who is fast climbing the ladder to stardom — 
made his first Stage appearance, lie was 
known, then, as John Bowersox; a quaint 
name, but his own. And lie was busily at- 
tending the Huntington Business University, 
at Huntington, 1ml. 

It so happened that as John was burning 
the midnight oil — preparatory to becoming a 
lawyer or dentist or any other regular sort of 
a businessman- a show "went broke" in 
Huntington. And a certain actor, by the 
name of C. Garvin Gilmaine, was left without 



any occupation. So he set about to organize 
a theatrical company. 

To make a long story short, Gilmaine met 
young Bowersox. And, after much persua- 
sion, convinced the youth that he had the 
makings of an actor in him. And the upshot 
of the matter was that Bowersox played the 
part of a villain — one Manuel Lope: — in a 
stirring melodrama called "Nugget Nell." 

Since those days. John has gone a long way. 
He's added a list of characterizations to his 
history, and dropped a syllable from his name. 
And now. to cap the climax, he's going to 
appear in a Harold Bell Wright story. 

WE should very much like to know what 
the new gag in Harold Lloyd's present 
picture is. It's a deep dark secret, but every 
time they mention it. Harold and his staff of 
helpers go into roars of laughter. There's one 
thing about Harold that's always amusing. If 
you ask him how his picture is going, his face 
fajls. he looks utterly downcast and miserable, 
and with a deep frown shakes his head. "I'm 
afraid of it," he says. I remember that he said 
that about "Grandma's Boy" and "Safety 
Last" and "Why Worry?" It's a very pro- 
gressive state of mind. 

DOUGLAS FAIRBANKS, JR.. went 
through the business of his first personal 
appearance like a bom diplomat. It was at 
the first showing of his picture "Stephen Steps 
Out." at the Rivoli theater, in New York, that 
he made said personal appearance — meeting 
hundreds of people, and shaking hundreds of 
hands. 

Although Doug., Jr., is just fourteen, hehas 
a great deal of poise. And. although he has a 
great deal at" poise, he is neither a sissy, nor 
conceited. He is just a regular American boy 
— the sort we like to think of as the " typical" 
American boy. And — if his performance in 
his first picture means anything — he shows 
promise of becoming one of the best of our 
juveniles. 



Brarj advertisement in PHOTOPLAY magazine is guaranteed. 



Photopi \n Magazini Advertising Sbi now nc 



"Be Sure You're Right 



yy 



pvAVY CROCKETT used to say: "Be sure you're 

"^"^ right, then go ahead." That's mighty sage 
advice. It's a wise shopper who takes it to heart. 

Glance through the advertisements and in a few 
minutes you can set yourself' right on numerous things 
you either want to buy now or at some future date. 

Advertising has stabilized prices. The advertiser 
names his price — the same for all. You can know 
that in paying it, you're getting the same deal as 
the next one. 

"Be sure you re right" It's a duty you owe your 
pocketbook. 

Advertising has helped to standardize quality. 
Only the best of wares are spread out for you on 
these printed pages. The men who advertise here 
are making publicly certain claims, on the fulfill- 
ment of which depends their commercial success. 

"Be sure you re right.''' 

Advertisements give you news of the latest and 
best things made with word as to what they cost 
and what they will do. They put before your eyes 
the pick of the country's market and the selection 
of the particular kind, shape, size and color that 
best suits your taste and fits your pocketbook. 

Buy with your mind made up. Let the adver- 
tisements guide you away from mistakes. 

"Be sure you are right" 

Read the Advertisements 



When you write to advertisers please mention PHOTOPLAY MAGAZINE. 




Photoplay Magazine — Advertising Section 



The secret is out! 

Noted Parisian perfumer finally dis- 
closes the reason why his most popular 
odeur has for years been the favorite 
of so many women — 

\X7HILE other perfumes have 
' * come and gone, Rigaud's Par- 
fum Mary Garden, like the never- 
waning popularity of the famous 
opera artiste whose name it bears, 
has lived on and on for fifteen years 
like an ever-fragrant flower! 

"The secret is a simple one," said 
the aged creator of Rigaud odeurs. 
"In formulating Parfum Mary Gar- 
den, we deliberately set for ourselves 
the task of achieving an odeur that 
would be so seductive, so fascinating, 
so bewitching that it would be utterly 
irresistible to men. 

"To create this kind of a perfume, 
we did not trust our own judgment 
entirely; we investigated most care- 
fully; we distilled nearly ioo new 
odeurs and secured dozens of women 
to give them actual tests in their 
social contacts with men. 

"We did not rely upon the opinions 
alone of the beautiful women of 
France. We carried our tests into 
Spain, into Italy, into England, into 
Russia, and to America. 

"And at last after eighteen months 
we reduced our researches and con- 
clusions to just one odeur which we 
then perfected. And this became 
Rigaud's Parfum Mary Garden — a 
perfume with so distinct, so individual 
and so seductive a lure that men 
simply could not resist it!" 

That is the secret of why it has 
survived so long — that is the reason 
it will live on for man) years to 
come. * * * Geo. Borgfeldt Eg Co., 
/6th and Irving Place, N. V. — Sole 
Distributors, U. S. A. and Canada. 

Yi>» will find cii the better thops 
a complete line of toilet aceesso- 
nc<. fragrant with Parfum 
Mary Qarden, Ask to sec them, 

Thifiimerie l\ti}aud 
16RUEDELAPMX 

PARIS. FRANCE 




Jennie Macpherson — who is responsible for the brilliant script of Cecil De Mille's 
"The Ten Commandments" — tells Aaron, of Old Testament fame, hoiv he should 
handle his strange, triangular staff. Aaron, in his present incarnation, is James 
Neill. And Miss Macpherson, in all incarnations, is the axis around which 
the De Mille organization revolves. She ivas a screen actress herself before she 

began to write 



A ND now a Russian director is in America. 
-**-A Russian director is the only Russian 
thing that has not discovered America in the 
last few years! We've had opera companies, 
art companies, chauve soitris, samomars and 
restaurants — as well as actresses, mysterious 
members of the nobility and the army, ballet 
dancers and a thousand and one objects that 
masquerade under the general name of art. 

However, we're glad to welcome this special 
director to our midst. For he is Dimitri 
Buchowetzki. who handled the megaphone in 
the productions of "Peter the Great" and 
"Othello." 

T"\ W. GRIFFITH has captured a Barry- 
*—'' more — Lionel, no less — to play an im- 
portant part in his production of "America." 
This is Lionel's first appearance wit li D. W. 
for ten whole years — for he began his screen 
career in Griffith's stock company. 

The role for which he has been cast is an 
unpleasant one — to say the least. For he will 
play the part of Walter Butler, who. in the pre- 
revolutionary days land. For that matter, 
during the revolution) led a band of Indians in 
B guerilla warfare against his own people. 
He, himself, was known as the "blue eyed 
Indian" and he was responsible for many 
brutal massacres — especially is he rememl ered 
for the bloody affair of Cherry Valley. Cul- 
tured, ruthless, a renegade from society, a 
traitor and an arch-villain — this is the part 
for which Lionel Karrvmore has been selected. 
And. if we're any judge of good casting, he'll 
do a splendid bit of work. 

pi.IXOR GI.VX has returned to her beloved 
-'—'1 ondoi) for a brief visit. Brief, because she 
wishes lo return to this country for the world 
premiere of her story "Three Weeks." She 
has been working with the producers on this 
production, and feels that she is entitled to a 
vacation — however short. Now the camera 
work is done, and the film is being edited and 
cut. And then theccn-ors! 



T OS ANGELES— as far as possible, it would 
■".-cem, from the stamping ground of our rev- 
erend Pilgrim fathers — has finally got its Blue 
Laws and its long-haired reformers. And, 
though the film city has been talked about as a 
place of parties, the harmless ball of the 
Wampas (the Western Association of Motion 
Picture Advertisers) has been driven from its 
home town and will be held in San Francisco. 

It happened this way. The reformers have 
put through a curfew law to stop, all public 
entertainments — and private ones, too — at 
twelve o'clock. And so. to have their party 
undisturbed, the Wampas hold their annual 
dance farther north. 

It would seem to the casual observer that 
the blue law faction is trying to oust motion 
pictures, and motion picture people, from Los 
Angeles. They put a stop to the dire tors' ball, 
and they have ruined a whole flock of good 
parties that would pass muster in any other 
city. Picture folk, rather than put up with 
constant question and insult, are leaving the 
town. And who can blame them? 

AND now Griffith is a Colonel. Not just 
• lb W." any more — Colonel D. W.. if you 
please. He was given this rank at the request 
of the "Daughters of the American Revolu- 
tion." in recognition of his splendid work in 
bettering the average of the silver sheet. The 
Daughters, we believe, especially mentioned 
"The Birth of a Nation" and Griffith's forth- 
coming "America" in their petition. Said 
petition was granted by the governor of a state. 
Try and guess which state! Kentucky, of. 
course! 

PEDRO OF CORDOBA, while one of the 
gentlest and most popular of players, seems 
to spend most of his life under the shadow of 
tragedy. The story of how, despite his wife's 
death, he was compelled to play a matinee and 
e\ ening performance in " Nemesis," to prevent 
the closing of the play, will one day be a great 
legend. This winter he has endured another 



Every advertisement in rtlOTOl't. ay mac v/.txr la guaranteed. 



Photoplai Magazine Advertising Ski 



iD\ 



97 



tevere tragedy, for his talented younger sbtei 
has been threatened with blindness; As hei 
trouble is a baffling one and requires an n 
tremerv delicate operation De Cordoba baa 
sent his sister to Spain where a certain great 
spot i.ilist may, he Dopes, be able to cure her. 

Mrs i BEODORE ROBERTS brings {ram 
the Hollywood colony an amusing story oi 
tin- advent oi a titled woman oi tremendous 
dignity. I'lu- titled woman's husband i- a l>ii 
philanderer and addic ted to holding a rail 
feminine hand longer than social usage de 
stands. 

\' a tea at which his imposing spouse was 

nted to Hollywood's exclusive social 

cm le an attracth e member of tin- > olony said: 

"Hereafter her husband may hold my hand 

as long as fie likes. He needs it." 

M\KY BETH MIl.KOUD and Louise Lor- 
raine— leading ladies both, who have ad- 
joining dressing rooms have found a way >>i 

Solving the h. e. of 1. Wearing the sami 
shoes, they do their loot shopping together 
And take turns wearing the same slippers 
instance, when Mary Beth's script calls 
for an evening frock and Louise is appearing 

in sports clothes, Mary Beth wears the silver 
slippers and Louise appears in the rubber soled 
buekskin oxfords. And vice versa. 

LI ACH CROSS, former contender for the 
lightweight crown, is back again in the ring 
That is, in the near ring! For he's appearing 
leorge O'Hara's opponent in a scene from 
Witwer's " Fighting Blood" series. We hope, 
for the sake of George, that Leach Cross 
doesn't forget where he is! 

JOSEPH Df. GRASSE, who is to direct 
J RichardWaltonTuuVs production of "Flow- 
ing Gold," was interviewing an oil field worker 
who had spent a great deal of time in Ranger. 
Texas — the locale of the story. 

"Ranger was quite muddy in those day>, 
wasn't it?" asked De Grasse. 




Martha Mansfield was just abovt to be 
starred in "The Warrens of Virginia" 
ivtien the film broke, suddenly, upon her 
reel of life. Young, beautiful and talented 
she met death from burns received as the 
result of a lighted match, carelessly firing 
aside 




(( 



■then my Dentist smiled 

and said, 'Use Colgate's 

"AFTER Dr. Stephens had cleaned my teeth, he held the 
l\ mirror for me to see how white and pretty they were. 
They looked so nice and clean. 

" 'My!', I exclaimed, 'I wish I could keep them that way'. 

"Then my Dentist smiled and said, 'Use Colgate's'." 

* * * 

Colgate's Ribbon Dental Cream gives you the secret of clean, 
beautiful teeth. It "washes" and polishes your teeth, without 
scratching or scouring. It brings out and preserves all the 
natural beauty of your tooth enamel. 

Colgate's is the safe, double-action dentifrice. Its specially 
prepared non-gritty chalk loosens clinging food particles; its 
pure vegetable-oil soap gently washes them away. 

Because Colgate's cleans teeth the right way, it is recommended 
by more Dentists than any other dentifrice.* 

Colgate's is on sale everywhere. Large tube, 25c. 

*A Dentist recently wrote: "There are no 'cure-alls' in dentifrices. 
They are only cleansing agents performing the same function in 
the oral cavity that soap and water do for the hands. I heartiljr 

•endorse Colgate's as one of the very best in the market. ' 

(Name on request) 

COLGATE &. CO. 

Established lfW6 



^S 




truth in advertising 
implies honesty in 
manufacture 



CLEANS 
TEETH the RIGHT 
WAY 



// Your Wisdom Teeth Could 
Talk, They'dSay, " Use Colgate s" 



When you write to advertisers please mention PHOTOPLAY MAGAZINE. 



9 8 



Photoplay Magazine — Advertising Section 



' What a whale 
of a difference 
just a few cents 
make" < 




dAll the difference 

between just an ordinary 
cigarette and the most skillful 
blend in cigarette history. 

FATIMA 

—a mild cigarette 



Have Shapely Feet 
Unmarred by BUNIONS 




"fashion and comfort de- 
mand that feet fit snugly 
into the dainty pumps of to- 
day. There must be no bump to mar 
shapely feet — no rackinc torture to upset 
comfort Bunions are unnecessary anil dan- 
Ccrous. You can remove them quickly. 
harmlessly, pleasantly with the new. mar. 
velous solvent. Pcdodyne. Pcdodyne 
stops pain almost Instantly, banishes the 
distiturinc hump, and relieves the swollen 
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.iohn ~-l'^' n'orld famous scciuro u'riters and 

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St how not to do it- lhc u'hole story of tunting 

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The man laughed. 

"I'll say it was," he answered. "Why, once 
I was walkin' along the sidewalk on Main 
Street, strugglin' in mud almost up to my hips. 
Glancin' down I saw a man's head, just above 
the mire in the street. Big hearted, I reached 
out an' offered him help to the sidewalk. 
An' d'yt-r know what he said? 'Never mind,' 
he said, kinder laughin', 'never mind. I'm 
a-ridin' a ho- 

TT began last August — the romance that has 
-••united Ann Luther and Ed Gallagher in the 
holy bonds, etc. Gallagher, whose name, with- 
out Shean's, is like pork without beans (not 
original, this rhyme i. met the lovely motion 
picture actress when he was taking his initial 
dip into the film sea. The wedding took place 
in December, in Greenwich, Connecticut. 

Said wedding was. of course, followed by a 
wedding breakfast, at which Al Shean was the 
master of ceremonies. Al. by the way, was 
best man. And. to say the least, the party was 
tuneful — everybody sang a certain song. Do 
you know it? Why, absolutely, Mr. Shean! 

\X ALCOLM McGREGOR was a visitor on 
■*• '-"-Norma Talmadge's set, watching the star 
work in scenes of " Dust of Desire," when some 
one asked him if he would like to play Romeo 
with Miss Talmadge in "Romeo and Juliet." 

"Xot I," said Mac. "That takes a good 
actor." 

And it takes a darned good actor to say that, 
we might add. 

A T the opening of Emory Johnson's spectac- 
■**-ular photoplay, "The Mailman." a prize 
was awarded to the best mailmen's band in the 
country. Of course not even-body knows that 
mailmen have bands, unless they happen to be 
radio fans, we should say, they don't know it! 
The first prize — S300 and a silver cup — was 
awarded to the New York Mailmen's Band. 
The second prize, S200 and no cup, went to the 
mailmen's band of Newark, X. J. 

UXIYERSAL announces that it has signed 
Al Lichtman in an executive capacity. His 
first job there will be the management of " The 
Hunchback of Notre Dame." 

Speaking of Universal, we see, by the S. E. 
P., that Carl Laemmle wants to buy a ranch. 
A great big ranch. 

[ CONTINUED ON PAGE I40 ] 



What Kind of Women 
Attract Men Most? 

[ CONTINUED FROM PAGE JO ] 

jolt when one woman enters a room. It is a 
thing which stimulates an interest in your very 
unconsciousness before your consciousness is 
even aware of the presence of the embodiment 
of it. Pola Xegri has it. the naive, egotistical, 
beautiful, emotional Tola. Gloria Swanson 
has it. the smart, fashionable, finished Gloria. 
Mabel Xormand has it. the rogue, the wit. It 
is an attribute of beautiful Barbara LaMarr, 
voluptuous Nita Xaldi. alluring Corinne 
Griffith. It is the hundred per cent of per- 
sonality. 

Magnetism is the antithesis of "blah.'' It is 
always active. Personality can be negative. 
Magnetism is compelling. Personality is 
merely arresting. Magnetism is what makes 
the man-chased woman. 

Tola Negri, for all her beauty, might be an 
uncourted school-ma'am were it not for a 
magnetism mentally stimulated. Here is a 
woman of elemental naturalness. The most 
unexpected, and perhaps the most winning 
quality of her nature, is her great ingenuous- 
ness. She is a blend of sophistication and utter 
naivete. Her emotional naturalness bursts 
through all control. She is incapable of sus- 
tained pose. 



Every advertisement In rilOTOPLAY MAGAZINE is guaranteed. 



Photoplai M\i,\/im Advertising Sei 

A Modern Living Room, Italian in Spirit 

. iim I i> FROM PAG1 57 | 

w 



H»N 



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Good adaptations of Italian Renaissance styles in furniture should always 
have the straight or classic lines shown in this sketch 



ttun-known world. Commerce thrived, ships 
and caravans returned with priceless textiles 

and carvings. Wars in other Countries drove 
workmen into the towns and cities of Italy, 
and. becoming inspired with classic lore, and 
with the impelling beauties of the fruits of 
n commerce, they took the things at 
hand ami wrought from them the wondrous 
furniture ami textiles and decorative accesso- 
ries that serve as our inspiration today. 

Domestic and industrial arts flourished. 
Prince- and potentates threw the weight of 
t -ir wealth to the support of both tine and 
applied ait-. Ml history tell- of the influence 
the powerful and wealthy family of Medici, in 
Florence, had upon the art of the day. (Ire, it 
painter- were commissioned to den. rate pal- 
ace-, hot h public and pri\ ate. Worthy artisans 
were encouraged to create the supreme in 
furnishings. Wonderful textiles, tapestries, 
and fabrics for drapery and upholstery were 
manufactured in gorgeous and colorful plenty. 

Naturally, it was an epoch in which these 
things were attainable to only those of great 
wealth. Hut like all such movements, the re- 
flected glory of it was felt in the more hum! le 
homes, where the furniture and rooms could 
not help being influenced by the great art 
accomplishments of the wealthy. 

So we come to know that there are two kinds 
of Italian Renaissance. One, the gorgeous 
splendor of the wealthy. The other, the more 
simple — yet beautiful — art of the average 
people. It is with the latter we deal here, for 
the simplest forms are always the best in home 
decoration. 



It i- one of the outstanding characteristic - of 
Italian furniture that it was designed with tin- 
idea of concentrating enrichment in one spot 
and isolating it against a background of the 
simplest tj pe. And that, also, i-- the outstand- 
ing characteristic of the room which we are pre 
senting for your guidance. A general view of 
the room is given at the head of this article, 
and a more restricted view, and a floor plan, in 
other illustrations. Each piece of furniture, or 
group of pieces, is placed so that the beauty of 
it is shown to advantage against the simplest 
sort of background. 

We had in mind a room embodying the most 
economical elements to either the builder of a 
new house, or to one who is redecorating a room 
in an old house. To the builder of a new house 
we would say- let your walls be sand 6nished, 
and tinted, either in the plaster or after it has 
been put on. Because we are not concerned 
here with the cm I ellishments that typified the 
homes of the wealthy. Wall surfaces must be 
plain and rough in texture, and warm in color- 
ing. Therefore the sanded finish. In redeco- 
rating an old house, there are a number of wall 
paper> suited to give the effect desired. Papers 
in natural tones, creams, ochres, light choco- 
late, or grey; rough in texture or with surfaces 
blended by self colorings in conventional de- 
signs. The designs should not be too large, and 
the walls should be papered to the ceiling, with 
out a drop moulding, and finished either with a 
small cove moulding, or with a finishing-braid. 
The ceiling should be lightly tinted to harmo- 
nize with the walls. 

The floors in such a room should be laid with 




< 




'•t 

U 

i 
15 



The placing of furniture is a most important part of the decoration of a room. Here 
is a floor plan, showing how the furniture is placed in the room illustrated at the 

beginning of this article 




-^ 




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102 



Photoplay Magazine — Advertising Section 




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wide planks in which the joints are apparent. 
If the floor is hardwood of the usual type it 
should he waxed after it has been tinted, a 
slightly darker color. Oriental rugs were used, 
hut plain rugs — without borders — in shades 
of tan, tobacco, Ule-de-negre, hold charming 
po -ibilities. Thus we have the requisites of 
the room — the walls, ceiling, and floor. 

Furniture is our next consideration, and re- 
membering that true "period" styles are not 
compatible with our scheme, we have only 
considered adaptations. There are good and 
bad reproductions and adaptations, of course, 
but most of our modern-day reproductions are 
good and suited to many modes of life. The 
pieces are very simple and there are fine 
examples of all styles. The simplest forms of 
all periods are apt to be the best expressions, 
and we have chosen only the simplest for our 
room. Any one can get modern Renaissance 
furniture which, while following the general 
characteristics of the period, is adapted to our 
needs' and the size of the modern home. 

Remembering that the fireplace is, or should 
be, the center of family life and activity, we 
start with a group of furniture around this 
place of ■warmth and cheer. First, the mantel. 
It would probably be the costliest item in our 
room, for it should be in keeping with the char- 
acter of the whole plan. The normal wood 
mantel will not suffice. The lines, the details, 
the proportions should be Italian in spirit. 
A simple reveal and ledge of plaster, heavy 
wood, or art stone would do. It would be 
better, though, if some of the simplest deco- 
rative forms of the Renaissance were used. Bits 
of classical motifs, either architectural or floral, 
placed judicially, in wood, plaster, or stone, 
will produce a charming result. If the mantel 
is wood, then the wood should be painted the 
color of aged stone, antiqued ivory, or a very 
light chocolate. If in plaster, the plaster 
should be tinted to the same effect. The stone 
mantel, of course, would earn - its own color 
value. The mantel shelf need not be wide, he- 
cause mantel decoration is very seldom needed 
and, unless handled very cleverly, would not 
be correct. The mantel in the illustration at 
the head of the article is a good guide. 

Around the fireplace are grouped a sofa, 
two chairs, and several tables. The sofa, 
backed by a long table, is directly in front of 
the fireplace, sufficiently far away not to crowd 
the two chairs and tables at the left. One of 
the chairs to the left is a rather low, comfort- 
ably upholstered chair, of fairly modern type. 
The beauty of the furniture of the Renaissance 
is that it is so closelv related to the furniture of 



other countries in the same period, that combi- 
nations can be used. Intelligent combination 
of the "period " with the modern gives life and 
vigor to the setting. Simply be careful that 
your chair has fairly straight lines, and that 
the feet, or legs, be of the same general charac- 
ter as the turnings of the "adaptations" used. 
Remember that the Renaissance shape was al- 
ways the same — always straight or classic 
lines, and that, while wood carving was charac- 
teristic of the period, it need not be evident in 
all the furniture. 

In the wall space near the entrance door, is 
a cabinet console, and mirror. This console is 
of the "chest" type, and can be exceedingly 
plain in its design. The wood of this, as well as 
all other pieces, is of dull-rubbed walnut. The 
mirror over the console is framed in a simple 
wood moulding, and the mirror glass beveled 
into small panes. Opposite this, on the other 
wall, is a desk, of the cabinet variety. The 
doors swing open, disclosing compartments for 
stationer}', letters, etc. For writing space, 
there is a ledge that slides out. Against the 
wall, near the desk, is a low, round-top chest, 
highly ornamented with the mouldings and 
decorations of the period. 

A T the other end of the room, under the wide 
■**-casement windows, is a low window seat. On 
either side of the windows are bookcases, with 
small closet space beneath. Two chairs, of the 
most unobtrusive type, are set against the side 
walls near the bookcases. In front of the win- 
dow seat is a long table, in duplication to the 
one that backs the sofa, and a simple low bench 
of peasant lineage. These two latter items can 
easily be eliminated if the room is too small to 
carry them well. 

In drapery fabrics we come to the most con- 
ventional item of our style. Italian designs are 
large and conventional in character. And they 
are embodied in rich textiles. Cut velvets, 
brocades, brocatelles. and damasks of various 
colors — blue. red. burgundy, yellow, buff, sage 
green, dark green. But it is in these that 
modern adaptations are most beautiful. Tex- 
tile manufacturers today have reproduced 
these beautiful designs on materials that are 
within the range of the average pocketbook. 
In addition to these fabrics of conventional 
character, we can use certain types of linens, 
wood-block printed in patterns resembling the 
needlework of the peasant folk of Italy. Crewe] 
designs in embroidery on linen are also adapt- 
able to the room. The fabrics of the Renais- 
sance were thick and heavy. It is well to re- 
member this when making your draperies. 



IS MATRIMONY A FAILURE 
IN HOLLYWOOD? 

THE sensational press and the scandal-mongering publications are 
fond of printing, with or without excuse, stories of quarrels, separa- 
tions, divorces among the members of the screen colony in Hollywood. 
If one believes all these stories, one may easily think that the screen 
industry contains no happily married couples. Stories of husbands 
and wives who do not have differences are not published. They are 
not of interest to the scandal lovers. 

Photoplay asked the question, "Is Matrimony a Failure in Holly- 
wood?" of its Western editor, Adela Rogers St. Johns, who probably 
knows more motion picture actors and actresses than anyone else in 
the United States. And she, from the depths of her years of ex- 
perience and from her wide acquaintance, tells PHOTOPLAY readers the 
real facts. It is a comprehensive and extremely interesting article, 
and it sheds some real light on the marital affairs of Hollywood. 

IN THE MARCH ISSUE OF PHOTOPLAY 

Out February 15th 



bvc-ry advcrtlsi-mi-nt in PHOTOPLAY MAGAZINE is cu.iumuvd. 



Photoplai Magazini Advertising Section 



103 



because the lighter Fabrics wOl not -nit the 
ruggedneis of the rest oi 1 1 * «-- rooin 

When furniture coverings ai<- considered, it 
would be better to confine yourseU to the cul 
pin velvets, tapestries In period, oi ti 
petit, |H)int needlework. The coverings are 
re in bue, toned admirably to the wood, 
letting the walls and accessories Btand oul in 
contrast. U one color is used throughout, .1 
dull red in some one of the various hues might 
be used 

The conventional designs of the draper} fab 
rii-> an- in contrasting tones, such a> I ulT and 
ted. gold and green, etc., or they could a> 
easily be in self tones. The draperies • hould I e 
plain hangings at either side of the windows, 
simply gathered back on the rod. without 
valan 

LIGHTING fixtures are oi the most austere 
character, mostly oi w rought iron of simple 
turnings, fastened to the wall on shields, and 
shaded with the plainest of parchment shades. 
The lamps, both standing and table; and also 
the candlesticks, should 1 e just as severe. The 
poJychromed atrocities put out by the average 
manufacturer in semblance of the Renaissance 
arc too freakish to hold our attention for long. 
It is true that polyehromed pieces were used, 
but unless one has some accurate knowledge of 
color values, we are apt to go astray in our 
selections. 

Better to stick to the simple forms, and 
beta t those pieces of simple wrought iron, or 
composition in black and gold. 

And sometimes, if the color is needed, the 
parchment shades can be decorated with little 
motifs of fruits and (lowers in the Italian man- 
ner. 

The same care should govern the selection of 
accessories. A table runner, or a scarf to throw- 
over a chest, could letter be a piece of vivid 
silk, in harmony with the hangings, of solid 
color, rather than the figured and highly col- 
ored fabrics offered us. 

If pottery is used it should be of the sim- 
plest type. 

Rough, dull toned vases and bowls, rather 
than the highly glazed and colored ones, 
sometimes a piece of clear or tinted glass can 
be placed so as to catch the light and thus 
enliven a dark corner. 

Particular care should govern the choice of 
pictures and frames. The whole room can lose 
its character when the wrong picture or frame 
is used. The frames should be restricted to 
walnut, with some old gold rubbed in, or, if 
gold frames are used, they should be in combi- 
nation with some other color. If your dealer 
will allow it. hang the picture to see if it "fits," 
before deciding absolutely on the purchase. In 
small spots that need embellishment, a small 
polyehromed placque, or tryptich, of a Ma- 
donna, may be hung to give variation. Unless 
your purse permits of the purchase of really 
good tapestries, do not consider these for wall 
hangings. If you cannot have a good one, do 
without it. 

This, then, is our room. If you treat it in 
adherence to the straight, simple lines and 
plain values that are its chief characteristics, it 
v ill result in spaciousness, dignity, formality 
to the right degree, and a richness that implies 
self-respect, culture, and appreciation of the 
fine things in life. 



LOIS WILSON 

is considered the most saint' 
ly woman in Hollywood. 
She tells how she ac- 
quired this reputation, in the 
MARCH ISSUE OF 

PHOTOPLAY 




What Charm 
Excels Pearly Teeth? 



Combat that dingy film 

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Film holds food substances 
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104 



Photoplay Magazine — Advertising Section 




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From 

Carolyn ^Van Wyck 



CITTING rather near two women, recently, 
'-'in a smart Fifth Avenue tea shop, I happened 
to hear an interesting fragment of conversa- 
tion, which I shall repeat to you, word for word. 

"I think that Miss Altman-Brown is the 
best dressed debutante of the season," said the 
first woman. " Her frocks are always charming 
and perfectly suited to her. They are so a 
part of the picture that one is never conscious 
of them!" 

The second woman laughed, softly. 

"Many people," she said, "spend a great 
deal of money buying clothes that folk will be 
conscious of. Many people fling their clothes 
— as it were — in the face of the observer!" 

The first woman joined in the soft ripple of 
laughter. But her voice was grave when she 
spoke. 

"The right sort of clothes," she said, "are 
never obvious. They never intrude upon the 
interest. Perfect gowning and perfect taste 
choose the garment that is so suitable that it 
seems a part of the wearer — as much her own 
as her hair and her eyes!" 

It is quite true. The well gowned woman is 
so definitely a part of her clothes that one does 
not think of the clothes as a separate unit. 
Her corsets fit so perfectly that they can not 
be noticed, her shoes and stockings and gloves 
are in tune with her personality. In texture, 
shading and style she has planned her ward- 
robe to match her mind and soul and heart. 

Attention to the details of a frock, a costume, 
are very important if one wishes to attain this 
charming tout ensemble. The bizarre and the 
unique touches must take second place in the 
scheme of things. Unless, of course, one has 
a bizarre and unique personality. Barbara 
La Marr, Nita Naldi, Gloria Swanson — they 
can afford to wear clothes that are different, 
and in doing so they are not stepping out of 
character. 

Consider the clothes of Mary Pickford. of 
Alice Terry, of Bebe Daniels and Lila Lee. 
One is seldom able to think of them apart from 
their wearers. They are so well chosen, so 
true to type, that they belong. 

Take your own favorite screen star — each 
one of you, I know, has a favorite! Notice 
the exquisite care with which her clothes are 
chosen — so that one is never conscious of them 
as clothes. So that they become, in truth, a 
frame for beauty, and not a distraction. 

Bonny, Providence, R. I. 

I am so glad to give you advice, upon any 
subject. Especially since you have no other 



person to turn to for counsel. I will answer 
your questions in the order in which you have 
asked them: 

First of all — you have light brown hair and 
grey-blue eyes and rosy cheeks. In your 
choice of becoming colors to wear you will 
have a large range, for you are of the lucky 
" mediums." Black, navy blue and brown, 
for street wear. Also the so fashionable 
tweeds. For afternoon and evening I advise 
French blue, rose, grey, nile and jade green, 
and orchid. Because you are very slim, and 
not short, you may wear frilly dresses, pannier 
skirts, and two-piece suits with a bit of a flare 
to them. 

In regard to your complexion. Keep on 
with the treatment that you are using, and al^ 
apply, weekly, an application of good com- 
plexion clay. And. after using the complexion 
clay, an astringent cream. 

Your heart affairs are, of course, the most 
important of all. If you do not know your 
mind in regard to the young man — if you are 
uncertain of your affection for him. I think 
that you should see other young men and so 
give yourself a chance to judge fairly, and to 
come to a decision. Marriage should not be 
considered unless one is very sure. A loveless 
marriage is the most unfortunate thing in the 
world. 

Xoraia, Dakota. 

If your face is long — and your chin especially 
so — I think that you should wear your hair 
low. and arranged loosely at the sides. A high 
style will make your face seem longer, by far. 
Done in a knot in the back of the neck, with 
soft puffs at the side and either a bang or a 
dip of hair over your forehead it will help 
greatly. 

About brands of powder: If you will send 
me an addressed envelope I will be glad to 
advise you. 

A. E. C.. Pennsylvania. 

You should weigh at least forty pounds less 
than you do at present. The best thing for 
you to do is to go on a very strict diet — one 
from which you have omitted all starches, fats 
and sugars. You should also have plenty of 
exercise — regular setting up exercises, walking 
and skipping rope will help. Read "Diet and 
Health, with a Key to the Calories." 

Plucked and shaved eyebrows are not nearly 
so smart as they were a few years ago. Why 
not leave vours "./:/ ttaturcllc"? 



Let Carolyn Van Wyck be your confidante 
She will also be your friend 

fi.lROLYX VAN WYCK is a society matron, well known in New York's smartest 
C and most exclusive inner circle. She is Still young enough fully to appreciate the 
problems of the %trh—she is experienced enough to give sound advice to those in need of 
it; be they flappers, business women, or wives and mothers. She invites your confidences 
—she will respect them— on any subject. Clothes, charm and beauty, love, marriage, 
the dreams and hopes that come' to every one, the heartbreaks and the victories— who has 
not wished to talk them over with some woman who would be tolerant and just, sympa- 
thetic and filled with human understanding? Here is the opportunity to do so. 

— The Editor 



tdterUsement in riumvPLAY MAGAZINE Is guaranteed. 



Photoplay Mvi,\/im Advertising Section 



105 



JACKY, CotOB UX> SPUN 

Ves, then are ways to straighten .1 re 
truu But are you sure thai you «ill 

look your best with it straightened? ifoui 
sort ol .1 no. i- often lends piquancy to the face 
andb most attractive. 

1 isrnvE.Di raoi r, Mm h 

Permanent waving will answer the problem 
of your straight hair. With the curling Quid 
that you mention it is necessarj t<> use curlers 

1 do not think that your parent! an- old 

fashioned. 1 am afraid that you think, far 
too much, about your appearance. As foi 
your nose it is probably charming. 1 could 
give you the names of a half dozen ^tars who 
nave just such no 

M I 1, A.. Ni v. Oku INS, La. 

You are a trifle underweight — ami that i> a 

r;ix>d fault. Anil I think tliat a l;o<h1 cold 

cream always helps the skin. The powders 
and creams that you mention are quite safe to 
use, iii fait 1 recommend them. 

Jfou belong to a slightly exotic type — with 
your blue eyes ami olive coloring I should think 
that you might be called oddly attractive. 
Although you may not exactly resemble her, 
I should say that you belong to the Leatrice 
J03 type. 

Sou are right. Tt is most important to be 
lovable, pleasant and generous. Beauty often 
grows out of a charming disposition. 

\ C., New Britain, Conn. 

If you have a hij^h forehead, you should 
never wear your hair straight back. In a 
bang, or slightly over the forehead will be best. 

With brown hair and greenish grey eyes you 
will look your best in nile and jade ^reen. You 
can also wear black yellow, orchid and violet, 
flame, brown, dark blue and the pastel tints. 
Your weight is just about right. 

Betty Lave. Missouri. 

Many young married women have bobbed 
hair, and I am sure that it would be becoming 
to your type. Don't bob it. however, if your 
husband dislikes short hair. And don't tam- 
per with the pretty color of it. Of course you 
should wear girlish clothes — you are too young 
to wear matronly garments. Don't try to 
dress like a flapper, though. 

Often, when one is married, it is necessary 
to adjust one's circle of friends to meet the 
new situation. Don't make the mistake of 
choosing old friends, who are not congenial to 
your husband, in preference to him. Of 
course you should not give up your old friends, 
but remember that your husband should take 
first place in your life. 

Green Mountain Girl. 

I cannot advise you in regard to your 
coiffure without knowing something about the 
shape of your face. Or seeing a snapshot of 
you. I might give you the worst sort of 
advice without knowing any details. 

However, I can tell you that you will look 
well in greens, in grey and midnight blue, and 
black. Also in brown, henna, orchid, French 
blue and flesh. And I think that you should 
wear simple frocks, that follow a fairly straight 
line. 

A cold cream powder will prove more ad- 
hesive than any other sort. 

Hazel. Arkansas. 

Wear brown, tan, red, burnt orange, flame, 
rose, pale yellow and nile green. A brunette 
can. usually, afford to wear the warmer shades. 

A good face powder will not harm your skin 
— I think that it will add to your attractive- 
ness. And the soap that you are using is one 
of the best kinds. 

You certainly take plenty of exercise — and 
so perhaps your weight is a result of careless 
eating. Try a diet from which you have 
omitted all butter, cream and sugar. Do 
without ice cream, candy, pastries and soda. 
And I don't doubt that you will notice a 
difference. 



J-iREE '-" mail coupon below to Ellen /. r>//< kland,G*N, 

NOW-- A NEW WAY 

in solving woman's oldest 
hygienic problem 



B 




J?» 




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Exquxeitenee* , Immaculacy 
Under nit anu every cwidition EVh?RY 
day' Yet, under old method* the aver- 
age woman spent at latet 1-Gth 0/ her 
time ma state of discomfort, une^r- 
taintv,andfretju^nt!-/cmhnrrassmen*. 



mmaculaci), charm, exquisiteness under eirenn W to nees which most 
women find exceedingly hying 

By ELLEN J. BUCKLAND. Graduate Nurse 



ODERN science has discovered a 
new way in personal hygiene. A 
way immaculate, exquisite, safe. 

It supplants old-time "sanitary pads" 
and other make-shift methods. 

Discovered only a short time ago, it is today 
used by eight in every ten women in the better 
walks of life throughout America. 

The name is Kotex. And this offers you 
a test — free. Simply use the coupon. 

WHAT KOTEX DOES 

Kotex is a soft, pure white absorbent of 
extremely rapid absorption. Made of Cel- 
lucotton, it is far more absorbent than 
ordinary cotton. 

Then it is easily disposed of — a point 
every woman will appreciate. 

In comparison with old methods, it pre- 
sents safety, assurance and daintiness in 
contrast to uncertainty, lack of poise and 



frequently embarrassment. It has 5 rimes 
the absorbency of ordinary sanitary pads. 

A TRIAL WITHOUT CHARGE 

I think every woman and every girl owes it to 
herself to try Kotex. 

Once you use it and feel the peace of mind and 
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I cannot mention here, no other method will 
ever satisfy. 

Now I have asked the Kotex laboratory to 
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Kotex — free And they have consented — for a 
short while, at least. 

Simply rrail me the coupon. You will receive a 
packet in absolutely plain, unmarked wrapper, by 
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Kotex is sold by all drug and department stores. 
It comes in packages of 12, regular size Also 
Kotex-Super — packages of 12, extra size. 

Cellucotton Products Co. 

CHICACO, ILLINOIS 
Canadian Distributors 

Harold F. Ritchie & Co., Ltd. 
Toronto and Montreal 




re 



FREE SAMPLE— Mai l t his ConjidCTtial Cou pon 
ELLEN J. BUCKLAND, G. N. 

Care of Cellucotton Laboratories, Room 1420 
166 W. Jackson Blvd., Chicago, 111. 
I want to accept free trial offer made by you, with the 
understanding that it is absolutely confidential. 
Name 

Address 

Ciry _ P-i-24 



VThen you write to advertisers please mention PHOTOPLAY MAGAZINE. 



io6 




Photoplay Magazine — Advertising Section 

The Autobiography of Pola Negri 



Wins a Welcome 

You are always welcome with a sweet-toned Buescher 
Saxophone. Thousands of men and women, of all 
ages, have found it a certain key to social popularity. 
For home entertainment, for church, school or lodge 
affairs, the Saxophone is the most popular and adapt- 
able instrument. Saxophone players enjoy, also, 
many opportunities of earning money. 




TRUE-TONE 
SAXOPHONE 

The new Buescher Saxophone is a marvelous instru- 
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instruments — by the range and wealth of its tones it 
takes the place of almost every other instrument — 
yet it is so perfected and simplified that it is the 
easiest of all instruments to play. 

See How Easy It Is 

With the aid of the first three lessons, which are sent 
free (upon request) with each new Saxophone, the 
scale can be mastered in an hour; in a few weeks you 
can be playing popular music. Practice is a pleasure 
because you learn so quickly. You can take your 
place in a band within 90 days, if you so desire. 

Try It In Your Own Home 

You may order any Buescher Saxophone. Cornet. Trum- 
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Easy terms of payment may be arranged if preferred. 
Mention the instrument Interested in and a complete 
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Buescher-Grand Trumpet 

Especially easy to blow, with an improved bore and new 

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Free Saxophone Book 

We have prepared a very Interesting bool; on the history 
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BUESCHER BAND INSTRUMENT CO. 

Everything In Band and Orchestra Instruments 
2217 Buescher Block Elkhart, Indiana 



Hui'schcr Dnud Instrument Co., 

2217 Buescher Block. Elkhart. End. 

1 Gentlemen; 

i :im Interested in the Instrument cheeked belo 
I Saxophone Cornel Trombone Trumpet. 
(Mention any other Instrument Interested in* 



| Nun 



"1 



[ CONTINUED FROM PAGE 53 ] 

theater was converted into a hospital, and I captivated by it 

volunteered as a nur:-e for the Red Cross. 

The reopening of the theater four months 
later took me back to the stage, but I con- 
tinued to serve in a hospital by day. 

All, what a drama I entered when I enU red 
that hospital! Great, lovable peasant soldiers 
of Holy Russia, so brave, so ignorant, like- 
children. They couldn't write, so I wrote for 
them, little love letters, simple, halting, 
pathetic . . . they broke my heart into pieces. 

Then one day a terrible thing happened to 
me. I had seen the eyes of death, the miseries 
of women, children and soldiers. I had with- 
stood it all. But one day a soldier, just a big 
peasant Russian boy, was taken into the oper- 
ating room. AVhen 



Street Iddrec 



I'own state 1 



they brought him 
back his right arm 
was gone; it had been 
amputated just 
above the elbow. I 
went over to his cot 
to comfort him. He 
asked for a glass of 
water. I brought it 
to him. He looked 
up, and smiled. Then 
he reached for the 
glass . . . he reached 
with the arm that was 
gone! The glass 
dropped from my 
hand and broke upon 
the floor. I collapsed 
utterly. That one 
little pathetic gesture 
nearly killed me. 

My health had not 
been good. The 
strain of work and 
trouble had so un- 
nerved me that I was 
not fit for service. 

Romance and 
Another 
Tragedy 

A few brief months 
and I had developed 
from a girl into a 
woman. I made my 
debut at the Im- 
perial theater at the 
age of seventeen in 

Sudermann's " Sodom's Ende.'' The favorable 
criticisms appearing the next morning estab- 
lished me, and I continued in repertoire at the 
Imperial. 

It was during my second year at this theater 
that a young painter came seeking permission 
to do my portrait. I sat for him, and during 
the sittings I experienced, for the first time in 
my life, a deep and moving love. I think I 
loved him more than anyone I had ever known 
because he was more idealistic. We became 
engaged before the portrait was completed. 

Hut happiness was not for me. Again my 
fate intervened. It is my fate to be unhappy 
in love. We were planning our marriage when 
he suddenly took ill with consumption. "With- 
out a thought of career or friends or mone\ 1 
dropped everything and nursed him. . . . He 
dieil in my arms one terrible December night 

I was desolate. I rebelled against my fate, 
lie was the only one who had given me a real 
conception of lo\ e. For weeks and w eek- 1 was 
inconsolable, not caring to return to my work 
or even to my old circle of friends. I had 
known a great deal of misery, but it was out of 
this suffering that 1 gained understanding and 
philosophy. When eventually 1 did return to 
the theater I was a greater actress. 

My success as the Slave of Fatal Enchantment 
in "Sumurun," which Richard Ordynski 
directed, gave me my first idea of entering pic- 
tures. Then I saw an American film and was 



NEXT MONTH 



pOLA NEGRI tells of her romantic 
meeting with Count Dombski, 
whom she married, and of her first 
meeting with Chaplin in Berlin. She 
dwells on her success in " Sumurun " in 
Berlin under Reinhardt's direction, 
and of her discovery of Lubitsch, who, 
she believes, is the greatest of all 
motion picture directors. It was 
Lubitsch who directed "Passion" and 
"Gypsy Blood," the pictures which 
won her first fame in America. She 
also tells of the orphanage she sup- 
ports on her estate in Poland with the 
money she earns in the studios. 

Her first impressions of New York 
and of Hollywood are extremely inter- 
esting. She describes her troubles and 
her heart-breaks over the adverse crit- 
icisms she received at first, her worries 
in adjusting herself to a new country 
and new methods, and her growing 
affection for America. And through 
all the story runs the philosophy of the 
woman, intermingled with the ambi- 
tions of the actress, making it a most 
fascinating document. 



I thought the cowboy hero 
fascinating. ... I wish I knew his name, for I 
was as enamored as any school-girl fan. 

Filled with a desire to try my pantomimic 
talent in pictures — as I had tried it on the stage 
in "Sumurun" — I set about overcoming ob- 
stacles. There was no technical equipment in 
Warsaw in 191 5. but there was a motion pic- 
ture camera. I secured it, rented a photog- 
rapher's studio and commenced production of 
"Love and Passion," a terrible story which I 
wrote myself. Indeed, I was producer, direc- 
tor, scenario writer and star. The interior 
scenes were made by daylight in the studio and 
the exteriors in a garden, which I secured by 
agreeing to employ the owner's daughter in 
the picture. 

I completed the 
picture within a 
month and exhil ited 
it. The crudity of 
the production so 
discouraged me thatl 
sold the entire rights 
for one hundred 
rubles, about fifty 
dollars. The man 
who purchased it 
made a small fortune 
exhibiting it in Po- 
land and in Russia. 
Bad as it was. it had 
little competition in 
those davs. 



Acting Before 

the Enemv 

In 1016 the Ger- 
mans entered the 
city of Warsaw. The 
Russian forces, too 
weak to offer further 
resistance, had with- 
drawn to Praga, 
across the river from 
which they steadily 
bombarded the city 
for a week. 

That week was the 
most terrifying of 
my life. Thousands 
were killed in the 
street. Bullets 
rained through the 
air, and the windows 
of our apartment building were shattered. My 
mother and I had to live in the cellar. 

Through it all I was compelled to act. The 
Germans ordered the theater to remain open, 
the performances to continue. Never will the 
experience of that first night of acting under 
shell-tire be effaced from my mind. On the 
way to the theater I saw bodies of German 
soldiers and of civilians in the street. 

The theater was empty, except for a few 
German officers. None of the townspeople 
dared to attend. We had to act before those 
hundreds of vacant chairs and those few- 
officers. Terror-stricken I crawled onto the 
stage and went through my part. For seven 
agonizing rights we played in that empty 
house to the accompaniment of shell-tire. 

This nightmare passed. The Germans drove 
the Russians back and restored order in the 
town, and life went on as it had before. 

While I endured the worst week at nervous 
ten-ion the cumulative effect of my experiences 
told on my health, and I was able to continue 
only under a doctor's care. My nervous break- 
down might have had serious results had I not 
been rescued by an otter from Max Reinhardt 
to appear in " Sumurun " in Berlin. I accepted 
gratefully, frantic to get away from the scene of 
my greatest suffering. Without once considering 
the difficulties that might confront a Polish ac- 
tress in the Kaiser's capital. I set out for Berlin, 
arriving in January of 191 7. 



iv adrertlseruonl in PHOTOP] w MAGAZINE Is guaranteed. 



Photoplai Magazine Advertising Se< riON 



Questions and Answers 

l ooNinn id rsou paoi 87 1 

\i u 1 \m> \1 m:i 1 \ I! . \i u \ OXK, V S 

Jfou little giris believe thai in union is strength 
Mow do 1 know you are little 
girls? How does Santa Claus know Christ 
mas? My children, handwriting is a tattler. 
Ben Alexander is ten yean old. He maj be 
such a girl hater as he plays in "Penrod and 
Sam." liirl hating begins with the awkward 

and ends with it. Somewhere between 
and sixteen. He was born in Goldfield, 

ida. Gloria Swanson has a daughter. 
\l: Swanson uses her own name in her pro 
(essional life. She has Icon married twice 
and twice divorced. Neither Alice Terry nor 
Harold Lloyd is a parent. Nita Naldi's birth 
day was \pril first. [899. Her last picture is 
"The Ten Commandments " 



PHOTOPLAY receives man) 
requests each month tor infor- 
mation as to how to obtain photo- 
graphs ot stars. Here is the accepted 
method: 

Write to the star, personally, care 
of the studio in which he or she is 
working, make your request, and 
enclose 25 cents to pay the expense 
of the photograph and mailing. 
The stars get hundreds of these re- 
quests and it is hardly fair to expect 
them to send these pictures tree and 
pay the cost themselves. 







Helen, Birmingham, Ala. — Greetings, 
Rose of Alabama. It was Henry B. Walthall 
who played the owner of the saloon in ''One 
Clear Call." Theodore Roberts was not one 
of the players. This was the cast: Dr. Alan 
Hamilton, Milton Sills; Faith, Claire Windsor; 
Henry Garnett, Henry B. Walthall; Maggie 
Thornton, Irene Rich; Sonny Thornton. Stanley 
Goethals; Tom Thornton, William Marion; 
Colonel Garnett, Joseph Dowling; Mother Gar- 
net'.. EdithYorke; Phyllis Howard, Doris Pawn; 
Dr. Bailey, Donald MacDonald; Jim Ware's 
daughter, Shannon Day; Yctta. Annette De Foe; 
Starnes, Fred Kelsey; Jim Holbrook, Albert 
MacQuarrie; Toby, Nick Cogley. 

G. C. Hempstead. N. Y— All right, Gertie. 
Otis Skinner's appearance in the movies was 
with "Kismet." Adolph Menjou was born 
inPau. France. 

J. S., Davtona. Fla. — Send your photo- 
graph and the lively description of yourself 
you have given me to the casting directors of 
the motion picture firms nearest to Daytona. 
Miss Jack. The addresses of the principal 
studios are published each month in this maga- 
zine. But leave out the "Fm so wild I can't 
be tamed" in your application. Some degree 
of taming and discipline are synonymous. 

M. J., Pittsburgh, Kansas. — Address her 
through the United Studios. Hollywood. Can 
you qualify as "an exceptional individual in 
every respect"? 

Dab. Draper. X. C. — Stars answer letters 
from their "fans" when they can spare the 
time. They receive thousands of such letters 
and there are only twenty-four hours a day. 
Art Acord married a member of Pasadena's 
smart set. Buster Keaton's latest picture is 
"Our Hospitality." Buck Jones' age is the 
not too ripe one of four and thirty. His last 
picture is "Mike McGee's Chorus Girl." 
Louise Lorraine is not married. William Hart's 
official age is forty-nine years. Mrs. Hart's 
name before her marriage was Winifred West- 
over. 



!&"#■ 



1 




rriceiess oervice 

Despite fire or storm or flood, a telephone operator sticks 
to her switchboard. A lineman risks life and limb that his 
wires may continue to vibrate with messages of business or 
social life. Other telephone employees forego comfort and 
even sacrifice health that the job may not be slighted. 

True, the opportunity for these extremes of service has 
come to comparatively few; but they indicate the devotion 
to duty that prevails among the quarter-million telephone 
workers. 

The mass of people called the public has come to take 
this type of service for granted and use the telephone in its 
daily business and in emergencies, seldom realizing what 
it receives in human devotion to duty, and what vast re- 
sources are drawn upon to restore service. 

It is right that the public should receive this type of tele- 
phone service, that it should expect the employment of 
every practical improvement in the art, and should insist 
upon progress that keeps ahead of demand. Telephone 
users realize that dollars can never measure the value of 
many of their telephone calls. The public wants the service 
and, if it stops to think, cheerfully pays the moderate cost. 



American Telephone and Telegraph Company 
And Associated Companies 

BELL SYSTEM 

One Policy, One System, Universal Service 



rHROAT 
IRRITATIONS 

Throat irritations quickly disappear when you 
take Brown's Bronchial Troches. A dependable 
remedy— not a candy. Used for more than 70 
years by singers and public speakers. Promptly 
relieves hoarseness, loss of voice, coughing. At 
all druggists. 
JOHN I. BROWN & SON. BOSTON, MASS. 



HAROLD F. RITCHIE £ Co.. Inc. 



» 



I B f 



m 



COUGH "'VOICE LOZEHCCS 
IN 3 SIZE PACKAGES 



Help Wanted 

Wo require the services of an ambitions person to 
do some special advertising work right in your 
own locality. The work is pleasant and dignified. 
Pay is exceptionally large. No previous experience 
is required, as all that is necessary Is a willing- 
ness on your part to carry out our Instructions. 
If you are at present employed, we can use your 
spare time in a way that will not Interfere witL 
your present employment — yet pay you well tor 
your time. 

If you are making less than $150 a month, the 
offer I am going to make will appeal to you. Tour 
spare time will pay you well — your full time will 
bring you in a handsome income. 
Its costs nothing to Investigate. Write me today 
and I will send you full particulars by return 
mail and place before you the facts go that you 
can decide tor yourself. 

ALBERT MILLS. Gen. Mgr. Employment Deet 
229 American Bldg., CINCINNATI. OHIO. 



When you write to advertisers please mention PHOTOPLAY MAGAZINE. 




Photoplay Magazine- 



HOW MUCH 

</o Artists Earn? 

If you like to draw, you should de- 
velop your talent, for well-trained 
artists are always at a premium. 
They readily earn $75, $100, $150 a 
week, and even more. Many Federal 
students command $50 a week or 
more after a short period of prac- 
tical work. 

Develop Your Own Talent 

Learn the methods and secrets that 
make your drawings worth big 
money. The Federal School home- 
study course develops your talent 
on a sure foundation by the quickest 
possible method. Millions of dollars 
are being spent annually for com- 
mercial art work, — trained artists 
always command high salaries, and 
have work that is pleasant to do. 
If you have drawing ability you can 
train it to bring you rich returns. 

Leading Artists Are Authors 

Leading designers, illustrators and 
commercial artists of the country 
have contributed exclusive lessons 
to the Federal Course. Think of 
studying under such famous artists 

as Neysa McMein. Franklin Booth. Chas. E. 
Chambers. Charles Livingston Bull, Mat- 
lack Price, and others equally well known. 
These artists have produced and sold hun- 
dreds of thousands of dollars' worth of com- 
mercial art. They will tell you how to 
succeed in this profession. 

Send Today for "YOUR FUTURE" 

Tim book is beautifully illustrated in colors 
and tells you every detail you need to know 
about the Federal Course. It shows work 
of Federal students, many of whom earn 
more than the cost of the course while still 
studying. The Federal Course is aimed at 
practical results, — and 
pets them. If you are 
in earnest about your 
future, send 6c in stamps 
today for this txx>k, kindly 
stating your age and 
occupation. 

Federal 

School of 

Commercial Designing 

324 Federal Schools Bldg., 

Minneapolis, Minn. 
Please send me "Your Future" for which I 
enclose 6c in stamps. 








-Advertising Section 

Not in the Scenario 

[ CONTINUED FROM PAGE 6l ] 



although he had not lifted a finger to help 
him-elf. 

Suddenly, directly in front, he paw the smooth 
place of which Billy had spoken. In startling 
quiet and agreeable tranquillity the canoe 
swept forward. Directly in front was the 
ledge, which could be crossed only with the aid 
of the great wave on the left side. 

"Let that big wave lift you over," Bill had 
said. 

Larry saw it, frightfully menacing compared 
to the oily flow to the right, and then he real- 
ized that it was here Marguerite must have 
been wrecked, that it was here he must make 
the effort to save her. 

With desperate strokes he reached far out 
over the side and tried to turn the canoe. At 
first he felt that he was not making an im- 
pression and then, as if suddenly possessed of a 
grim determination to shatter itself, the craft 
darted straight toward the lifting, engulfing 
wave. 

■"THE bow rose high in the air. poised a mo- 
*■ ment and then jerked down. The stern 
sprang up. For a moment the canoe was en- 
tirely clear of the water. Then it leaped for- 
ward and down as Larry clung desperately to 
the gunwales. Before he realized that he was 
still upright he was darting straight toward the 
brink of the falls. 

Again he paddled frantically. The bow 
barely crossed the V of foam where the current 
split and eddied violently inshore above the 
tongue of rocks, and the next instant it wedged 
between two boulders. Larry leaped out, 
scrambled a few yards over the wet, slippery 
granite and grasped Marguerite by one hand 
just as it had released its hold. 

With difficulty he pulled her out and half 
carried, half dragged, her back to a higher, 
drier spot and laid her down. 

"Marguerite," he whispered as he knelt be- 
side her. 

The girl's eyes were open and she smiled 
faintly. 

"You're safe now," he assured her. "And 
it's all over. They're both dead. They'll 
never bother you again." 

She shuddered, but she continued to smile, 
and then she began to tremble. 

"I'm so cold," she whispered. "And my 
head. It aches terribly." 

The roar of the falls drowned most of her 
words, but he comprehended that she must be 
gotten to a dry, warm place as quickly as 
possible, and he sprang to his feet. 

He remembered that Bill Taylor had ex- 
plained how the falls were to be circumvented, 
once the rapids had been passed. Climbing to 
the top of the point of rocks, he saw the quiet 
backwater shut off from the cataract by a high, 
natural wall of granite. Beyond, though the 
current was swift, there was an easy passage to 
the open lake. 

I. airy scrambled back to his canoe, dragged 
it out of the water and carried it across. Then 
he returned, picked Marguerite up in his arms 
and made his way carefully down beside it. 
Two minutes later he was being swept out into 
the lake and was paddling across to the camp 
of the movie people. 

Dave Mann. Fay and Peggy and the others 
were there when he landed, and the two women 
immediately took charge of Marguerite. Larry 
helped carry" her to their tent and then re- 
turned to the shore. Dave studied him closely. 

"Well, you fish.1" he suddenly burst forth. 
"You certainly went and messed up every- 
thing. Look at your face! Now there's the 
devil to pay. No telling how many thousand 
dollars it's going to cost us to wait around here 
until it heals enough for you to work again." 

It was the first time Larry knew he had been 
cut and he felt of his bloody visage in amaze- 
ment. 

"And look at the chances you took!" Dave 
continued. "Fighting up there on that ledge! 



Why you didn't go over I don't know. And 
then running those rapids! You, a greenhorn! 
Fool's luck is all that saved you. But look at 
you. Million dollar map! Ruined! And 
all—" 

"Who's that coming?" some one behind 
Dave demanded excitedly. 

A canoe, propelled by strong, swift strokes, 
was approaching from the open lake. No one 
had seen it until it was close upon them. 

"The wop and the deaf-mute!" Dave ex- 
claimed. "Too bad they couldn't have been 
here sooner to 'tend to their own affairs. Nice 
mess that fellow's gotten us into. Won't let us 
finish the work at his place and then gets my 
leading man all mussed up." 

"Look here, Dave!" Larry cried. "There 
are other things in this world besides your 
damned movies." 

"Don't I know it?" replied the director 
angrily. "Haven't I been trying not to show 
it? Do you suppose I thought I was watching 
a show when you were doing all those stunts 
across the river and me not able to lift a hand 
to help you?" 

Suddenly his voice broke, and he threw his 
arms around Larrv's shoulders. 

"Damn it all, boy!" he half sobbed. "I— I 
■ — but you're back, all right. You're back 
and — " 

Signor Zappettini had landed and both he 
and Angelo catapulted from the canoe to 
Lany's side. 

"Marguerite!" the maestro wailed. "What 
happened? Where is she? Did you catch 
them? We saw their canoe coming this way." 

" She's all right." Larry assured him. " She's 
in a tent getting dried out. You can see her in 
a moment." 

Angelo thrust himself between them and, 
with his quick fingers, demanded an explana- 
tion. Zappettini told him with a few convul- 
sive movements. 

"But you. my boy!" he cried. "Your face! 
And those two! Where are they?" 

"They're fish bait now," Dave told him 
jubilantly. "Talk about fights! You ought 
to 'a' seen that one. On a ledge, right above the 
falls! And Larry here alone against the two of 
them. And then — " 

THE maestro did not wait to hear more. He 
had seen a tent flap thrown back and Mar- 
guerite emerge with Fay and Peggy on either 
side. 

"Cara mia!" he cried, and both he and 
Angelo rushed forward. 

He took the girl in his arms, kissed her re- 
peatedly and then held her away from him as 
he stared at her. speechless but with a radiant 
face. 

At her feet knelt Angelo. His fierce brig- 
and's face was contorted grotesquely, and he 
was fumbling with the hem of Marguerite's 
skirt and pressing it to his lips. 

"Here!" Peggy cried. "That's my dress 
you're slobbering over. Look at that. Dave! 
First time it ever happened, and the skirt 
wasn't on me when it did." 

Her remark relieved the tenseness of the 
situation. Several laughed. Everyone talked. 
Six people suddenly and simultaneously felt in- 
spired to tell the story of what had happened. 

Marguerite, pale but smiling, glanced shyly 
at Larry, who tried to withdraw to the rear of 
the group. 

At last each narrator seemed to have ex- 
hausted himself or to have realized the futility 
of going on. In the sudden quiet Dave Mann 
surveyed the principals in the affair and then 
burst forth with a question. 

"Say!" he exclaimed. "What in Sam Hill 
was this all about anyhow? Who were those 
two guys and what were they running off with 
the girl for?" 

Marguerite became even paler as she looked 
quickly at Signor Zappettini. The musician, 
still greatly excited, was aghast. His mouth 



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opened, then shut, and he glanced wildly about 
him. His eyes anally mel Marguerite's, and 
Larry, grasping the entire significance «i tin- 
situation, filt suddenly sickened. 

After all, In- saw, the blackmailers might be 
tlead but the impetus of their scheme «.i> --till 
tug both Marguerite and the maestro on 
to disaster. Even two criminals, he knew, 
could not be killed in the presence of twenty 
people without that fact coming to the notice 
of the law. 

And the law would not --top there. It would 
want to know what was hat k til it all It 

would demand imperiously, a> I >a\ e Mann had 
asked curiously, why there should have been 
that struggle on the ledge. 

\ id such a demand could not fail to bring 
out the very thing the maestro would die to 

keep hidden and it would drug into the mire of 

a sordid affair the pale girl now looking so fear- 
fully at Zappettim. 

"What was it anyhow?" Dave repeated. 

Larry took a quick step forward and stood in 
front of Zappettini. 

"I can tell, now that it '> all over." he said. 
'"Those two had been after me for a year. 
They tried to frame me in New York and they 

almost did Hut 1 fooled them. They threat- 
ened to get me and, of course, it was easy for 
them to find out we were coming up here." 

Dave had been Staring at him in amazement. 

"Frame you!" he cried. "Fat chance any 
one would nave hanging anything on you." 

"Hut they belong to one of the biggest 
gangs in the country," Larry protested. 
"Clever as sin. They almost had me. And 
yesterday afternoon I went over to call on Miss 
Temple. They followed me. Must have heard 
us talking. Anyhow, they thought they saw a 
chance to make me whack up. They kid- 
napped her last night and then came and told 
me I'd never >ee her again unless 1 paid what 
they asked." 

"How could they see you?" Dave de- 
manded. " I didn't hear of anyone hanging 
around here." 

"I couldn't sleep, worrying about them." 
harry answered, "and I went for a little paddle 
along the shore. That's when I saw them." 

"But why the light?" 

"I was to meet them up the lake, but I must 
have missed them. Then I saw their canoe at 
the mouth of the river and I hurried over. I 
was running across the portage to catch them 
when I met them on the ledge. 

"I began to see red then, I guess. 'We were 
alone and Mar — Miss Temple could get away. 
I didn't think she was in any more danger and 
I just lit into them." 

" I'll say you did ! " Dave exclaimed. " Gad, 
what a tight that was! But I guess you needn't 
worry now, boy. You've got enough witnesses. 
We'll all say they jumped you. There's no 
need to worry about the police." 

Larry was conscious that both Marguerite 
and Signor Zappettini were watching him. He 
felt embarrassed, decidedly uncomfortable, 
suddenly desirous of being alone. 

"Guess I'll go and get cleaned up," he said 
as he felt of his face. "I don't think that 
scratch will show much, Dave. It'll be all 
right in a day or two." 

He turned and hurried away to his tent. 

CHAPTLR IX 

A S Peggy Dare wa< the first to predict, and 
•* *as everyone expected, the happenings 
crowded into five minutes that morning gave 
Dave Mann several new ideas which had to be 
worked into the story. Larry had barely fin- 
ished telling what happened before his active 
mind was at work. 

But Dave also saw another possibility. 
When the excitement had died sufficiently for 
saner conversation he turned suddenly upon 
Signor Zappettini. 

"Look here," he began brusquely. "You'd 
better change your mind about my using your 
house a little more. It means a lot to me, 
money and time and everything else." 

The maestro held up his hands in protest. 



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"Sir,*' he said, "I am sorry you have asked 
that question. I am very sorry. I wish you 
had not." 

"Good Lord!" Dave exclaimed. "You 
don't mean that after all — " 

"I said I am sorry you asked it," Zappettini 
interrupted quickly. "It had been my hope, 
sir, that I could offer it to you, my house, my- 
self, everything I have, to do with as you wish. 
I will never be happy unless you make a mil- 
lion pictures there." 

Dave stared at him a moment and then 
thrust out his hand. 

"I thought you were the right sort. And 
say! I want you to watch us work. I'll show 
you there is art in moving pictures." 

"I am sure there is," Zappettini replied. 
"And I will be glad to watch you. But this 
Mr. Moncrieff, he is one of your actors?" 

Dave gasped and then recovered enough to 
say, 

"Yes, one of them." 

"I hope he has a future." the musician con- 
tinued, "but I imagine he is destined for 
smaller roles. He is so modest, so unassuming, 
has so little of the ego necessary to an artist, I 
cannot foresee a great success. He is too much 
a regular — what do they call it? — a regular he- 
man, too self-sacrificing, too eager to slip out 
of the limelight. Even now when I wish to 
thank him I cannot find him." 

"I don't know," Dave said slowly and with- 
out any thought of sarcasm. "They don't 
come any finer than Larry. But I don't make 
him out at all. He certainly hasn't any of the 
earmarks of the usual actor. But he's down 
there in that tent if you want to see him." 

His mind had already turned to the new 
features he wanted to work into the story, and 
he hurried away to find Phil Sherwood and his 
typewriter. Zappettini went to Larry's tent. 

""THE maestro had regained control of himself, 
*• and he made his words of thanks as simple, 
short and sincere as he could. His Latin soul 
revolted at so mild an expression of a great 
emotion, but he had seen enough of Larry to 
know what he would prefer. Larry sensed the 
delicate consideration, but as soon as he could 
he asked. 

"And you will take Miss Temple out, now 
that the only one who knows is dead?" 

"I would have done so anyhow. I believed 
this man was in prison for a long time. And 
the other. You say he was young? He could 
not have been of the same gang. A new re- 
cruit, perhaps." 

"And Miss Temple — she will sing m opera? " 
Lam - interrupted. 

Zappettini became at once the. enthusiastic 
maestro. 

"Such a triumph as she will have! " he cried. 
"France! Italy! Xe\\ York! She will be 
acclaimed everywhere." 

Larry excused himself and returned to his 
tent. 

The next day Dave Mann began shooting at 
the rapids. There was never any question as 
to who would perform the hazardous stunts. 
Nat 1 Iaskell had received several sly digs about 
being out of a job, but Dave put him through 
all the dangerous work and kept Larry sale on 
the rim of the gorge. 

" I'm not going to risk his neck in any of that 
stuff." the director growled to Roy Quigley. 
"lie's worth a million, that boy is. I don't 
want him taking chances." 

Bui Dave had not given all his attention to 
the picture. I le dispatched two men on a mys- 
terious errand, and he sent two others up- 
stream to engage a band of Indians to hunt for 
the bodies of the blackmailers. The Indians re- 
fused to come. They had known men to drown 
there before, they said, and once a tody was 
sw ept out into the cold, deep lake it had never 
come up. 

Four days later the work at the gorge was 
completed and the entire party moved back to 
their camping place across from the Zappettini 
cabin. Larry's face had healed so that, with 
thick make-up, the cut on one cheek was not 
noticeable. 



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They arrived late one oighl and the next 
morning Dave rushed into the work He and 

hi- cast had hardly arrived at the lubin 1 efore 

he was busy picking up the threads where they 
had been broken by the maestro'i fiery en- 
trance. 
Zappettini and Marguerite were warm in 

their welcome, and when the work of filming be- 

gan they were as interested spectators as ever 

sat behind a camera man. 

The scene between Larry ami Fay, which 

had been interrupted, was quickly completed 
ami then Pave jumped to the climax and the 
meeting between the lover-, Peggy and Larry. 

When it was finished at last to Dave's >atis- 

faetion even the ma<<tr>> was loud in hi- praise. 
For to the musician's amazement he discos ered 
that Larry was an aetor. 

To that love scene he brought something 

other than the usual smirking and greatly ex 
aggerated sentimentality. There was an ease 
and a sincerity, a repressed pa— ion and a 
smoothness, that dumfoumled Zappettini, and 
yet which had already won the heart- of several 
million women. 

" Marvelous!" he cried when it wa- finished. 
" \ wonderful piece of work, Sir." and he 
turned and bowed to Dave, " 1 apologize again 
and again. The other day 1 thought it was 
silly mimicry. Today I know it is art." 

"You bet it's art," the director beamed 
"And it'- art that pays, too. Wait until this 
picture i- released. It'll be a hold-over in every 
house." 

Later there were several small cuts to be 
cleared away, none of which required Larry's 
presence, and as the work went on he found 
himself beside Marguerite. He had seen her at 
the movie camp, had talked to her a few min- 
utes the day of the battle, but only when many 
others were present. Since his return to the 
cabin he had avoided being with her alone. A 
Strange embarrassment possessed him and he 
found it difficult to carry on a conversation. 
"You have never seen my dogs, have you?" 
the girl whispered. "Would you like to?" 

"Pol;-!'' he exclaimed. "1 always did like 
them. Are they lui-kies?" 

She led him around the house and to the rear 
of the clearing. At last they came to an open- 
ing in the thick brush and Marguerite halted. 

"There are no dogs," she said with an 
anxious glance at his face. "But I had to see 
you alone for a moment. There have always 
been others and I could not tell you what I 
think of the things you have done for the 
maestro and me." 

Larry looked about uncomfortably. 

"Please don't try to," he said. "I — I en- 
joyed it. That is, some of it. I — I — when you 
went down those rapids, of course — " 

"It was wonderful, all you did there!" she 
rushed on when he halted in confusion. "But 
not nearly so wonderful as what you did after- 
wards, there at the camp. I never heard of so 
noble an act, your taking all that dreadful 
story upon yourself. It was — " 

She faltered and tears came to her eyes. 

" "DLEASE don't," Larry begged. "And I've 
-1- wanted to tell you — to explain about your 
father and — and what I did to him. I'm sorry. 
I can't tell you how sorry, and I know you'll 
never forget that I killed him. But I thought 
he had killed you and — " 

"Don't," she said. "You mustn't feel that 
way. He wasn't my father. He told me that 
last minute. But even if he had been it 
wouldn't have made any difference. I never 
thought of him as a father. I couldn't." 

Larry looked at her, his face beaming in 
relief. 

"And now you are going out?" he asked. 
"To France, and Italy?" 

"Later in the summer, the maestro says." 

There was no exhilaration, no anticipation, 
and she looked back across the clearing to the 
cabin. Larry watched her a moment. His 
heart was thumping, and there was a strange 
feeling in his throat. 

" Marguerite," he began, and his voice had a 
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You know, I — maybe this will be the last 
chance I get. I know I shouldn't say anything 
now, but — " 

He broke off in confusion, utterly unable to 
go on. Hut he risked a glance at her face and 
found it very close. Her eyes held his. His 
heart thumped more violently than ever. He 
felt that he would suffocate. Something was 
the matter with his throat. 

Then the next thing he knew his arms were 
around her. He was mumbling deliriously into . 
her hair. lie made an awkward attempt to 
kiss her and failed. 

A half hour later they had talked over a 
thousand things and had said some thing a 
thousand times. Then they heard Dave calling 
Larry and started back to the cabin. 

"Why is it, Larry?" Marguerite began with [ 
a mischievous glance at him. 

"My name's not Larry," he interrupted. "I j 
forgot to tell you. That's the name Dave dug 
up for me when he got me into the movies. My 
real name is Jones, Cliff Jones. I — I never 
liked Larry." 

"But Cliff," she persisted, "why Ls it that on ] 
the verandah with Miss Dare you made love so 
wonderfully? It was the sort of thing I'd al- j 
ways dreamed of, that ever)' girl must dream 
of, and yet back there a little while ago — why, 
you didn't even know how to kiss me. You got 
your mouth full of my hair and — " 

"Huh!" Larry snorted. "That business 
with Peggy — that didn't mean anything. 
That was — it was just plain movie stuff." 

And then he wondered why her hand slipped 
into his for a quick squeeze and her glance was 
more adorable than ever. 



DAVE MAXX rushed his work through to 
completion in the afternoon and announced 
that they would start back to the railroad in 
the morning. 

"We'll finish the rest on the lot," he said. 
"We're going to make a time record on this 
picture." 

Before supper that night Larry called Dave 
to one side. 

"See here," he began. "I caught a glimpse 
of Quig turning the crank on me that day at 
the falls and I've been asking about it. I un- 
derstand you told him to shoot the whole thing 
and that he did." 

"He did!" Dave cried. "Every bit of it. 
Some of it's pretty far off, but it's corking 
stuff." 

"Where's that film?" Larry demanded 
sternly. 

"Where is it! What do you mean? " 

"You're going to burn that film, Dave," 
Larry said so sharply Dave looked at him in 
amazement. "That was — well, it wasn't the 
thing to do, Dave." 

"Not the thing to do! Are you Crazy? 
Burn it! Well, I guess not!" 

"But I mean that. Some things can be car- 
ried too far and that is one that shouldn't have 
stalled. I'll tell you now. Dave, confidentially 
— I don't want it to get out yet — but Mar 
guerite and I are going to be married and that 
film — well, it's personal stuff. Understand? 
It concerns just us, and I want it burned. I 
mean it." 

Dave stared at his leading man with com- 
plete lack of comprehension, but that didn't 
mean anything to Larry, lie knew only loo 
well the rapidity with which that mind worked 
behind the mask of apparently numbing emo- 
tions. 

Then the director made the characteristic 
grimace which indicated that, having met a 
new problem, he had solved it. 

'• Persona] stuff, eh?" he exclaimed. "Where 
do you get that? Nothing's personal or private 
with a movie actor. You've dodged it this tar, 
but you can't any more. And do you think 
I'm a Fool? Think 1 want to let these Canuck 
police lie you up for a long trial when I've got 
the proof right there in that film? Show it to a 
jury and they'd cheer you out of the court 
room. Personal stuff 1" 

He snorted and started away and then 
wheeled back with outstretched hand. 




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Photoplay M\t.\/i\i Advertising Section 



"Congratulations, old boy," he said heartily. 

"She's a wonder, a marvel, bul ihe'i met her 
mati li 

Ju-4 before supper two men arrival iii .1 

canoe lor an hour they talked with Daw 

Mann in hU tent 

After supper Larry slipped away and paddled 
across the bay. lor a while he listened to 
Marguerite ami Zappettini, and thru In- -aid. 
i think those two men who came today are 
detectives. 1 ought to have the name of that 
man, the om who said he was Marguerite's 
father, to make my story stick." 

Zappettini told him, ami for the first time he 
protested against Larry shouldering his own 
story. 

"Nonsense!" the young man exclaimed. 
"You two understand ami that's all I care 
about It probably will never come out any- 
how. And there's another thing. I forgot it 
that day at the falls and no one thought to ask 

me about it. Why would Angelo be bound and 

gagged if these nun were after nie?" 

Marguerite ami Zappettini were dismayed 

by this phase of the matter. 

'The police will he sure to find out about 
that and a>k questions," the girl said. 

"Listen here." Larry interrupted "I have 
it. They were after me. but they found you two 
folks here and saw a chance for another crime. 
They suspected that there was something 
funny in your living here alone. 

■■ they watched the place and when you 
went away that day they came over, hound 
Angelo and searched the house. You can say 
that a trunk was broken into and your private 
papers thrown atx>ut the room." 

He paused a moment and then said diffi- 
dently, 

" And tho>e letters, those five blue envelopes 
the man said were in your trunk. You should 
destroy them." 

" Destroy them!" Zappettini exclaimed. "I 
destroyed them that night, years ago, within 
an hour."' 

" But — " Larry began. 

"He was only guessing!" Marguerite cried 
"He had broken into the trunk but he hadn't 
seen them. He believed that what he said was 
convincing enough to impress me or that the 
maestro would get back before I could look." 

"They did search that day." Zappettini ex- 
plained. "Hut I do not think that is why they 
bound Angelo. I believe they intended to use 
force to get Marguerite when we returned. 
Only you — " 

It had become dark while they talked and 
the maestro was interrupted by steps on the 
verandah. He went to the door to find Dave. 
Roy Quigley and the two strangers. 

"These gentlemen are from the Ontario 
Provincial Police," Dave began at once. " 1 
sent for them that first day. It's always best 
to have even-thing clear and above board. 

"They want to ask a few questions of Larry 
and you two. but before they .do there is some- 
thing I'd like to show all of you. Get that 
stuff. Quig." 

TTIE camera man went outside, and Angelo, 
*■ at the maestro' s order, brought a lighted 
lamp from the kitchen. Quigley entered with a 
projecting machine, a roll of film, a specially 
constructed battery and a bundle of white 
cloth. 

" I understand that Signor Zappettini has 
seen only one motion picture, and that twelve 
years ago," Dave said as he helped Quigley 
stretch the cloth across one end of the room. 
"I want to show him one now. I'm going to 
prove to him that there is art in the movies." 

He bustled about, directing the arrangement 
of chairs and the setting up of the instrument. 
Larry tried to draw him to one side but in 
vain. At last the lamp was turned down and 
Dave's private show began. 

Probably no shorter, and no more dramatic 
or thrilling, picture was ever thrown upon a 
screen. Xo one in the little audience seemed to 
breathe. A suppressed cry broke from Zappet- 
tini's throat when he saw the crook hurl 
Marguerite into the canoe and shove it out into 



1 13 

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ii 4 



I 

9 

ashamed 

It brought him untold 
misery; yet only he, 
himself, was to blame. 



HE had neglected his teeth so long 
that he was actually ashamed to 
visit his dentist. And like so 
many people, he kept putting it off. 
Finally he became so sensitive about 
their appearance that in conversation 
he habitually distorted his mouth in 
an effort to hide them from view. 

A reasonable effort on his own part 
— consulting his dentist, conscientious 
use of his tooth brush and the right 
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humiliation. But he even neglected 
these things. He was uncomfortable 
wherever he went. 

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LISTERINE 
TOOTH PASTE 



Photoplay Magazine — Advertising Section 




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the rapids, and Anf;elo, denied any other form 
of expression, started to his feet and sprang 
forward before he realized what he was doin^. 

At the end Dave turned up the lamp and 
faced the two policemen. 

"Well, gentlemen?" he demanded. 

There was an awkward silence, and then one 
~>{ the men cleared his throat and glanced at 
the other. 

"You said you'd bring him if we want him," 
he said with a nod toward Larry. "You can 
go with that promise. But I don't think you'll 
ever hear from this. We'll make a full report 
and I guess that'll end it. They were only two 
crooks anyhow, from the States. Ontario's not 
much interested in them, now that they're ; 
dead." 

Quigley stepped forward and handed a 
bundle to Dave. 

"Miss Temple," the director began, "Larry's j 
told me about you two. Larry's a fine boy, ' 
none finer, and I'm mighty g'ad to know that 
when at last he did fall he fell where he did. 

" I'm a busy man. I have a lot of things on 
my mind and I forget easy. So I like to do 
things in advance and I'm going to give you a 
wedding present now. Xo telling what I'll be 
doing when you're married, or where I'll be. 

"I don't intend to make any predictions. I 
think you're going to get along line and dandy 
together, not more'n one quarrel in six months, 
say. But marriage is a funny thing. It's been 
tried a million times and no one's got it doped 
out right yet. 

"But here's something that's going to help 
a lot, though I hope you never need it. I want 
you two to take it and keep it. Xo copy's been 
made of it. It's the only one in existence. It's 
that film we just showed you and whenever 
either one of you thinks things ain't running 
right, just get out your little machine and 
throw this picture on the screen." 

He handed the film to Marguerite and then 
turned to Zappettini. 

"How about it now?" he demanded. "Any 
art in the movies?" 

"Sir," the old man answered with a smile, 
"who can say just what art is? Perhaps some 
day you will make me happy by asking me to 
write the music for one of your pictures." 

[ THE END ] 



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How Those Animal 
Comedies Are Made 

[ CONTINUED FROM PAGE 30 ] 

back, he himself sat down in front of a mirror 
and did it. The monkey was instantly in- 
terested. He peeped in the mirror, he peeped I 
up at the director. At last he did it. Xow — 
; ive him a mirror, even in the distance, and he | 
immediately smooths his hair. 

They love to be in things and to have things 
going on. 

The oilier animals are much slower, except 
the dogs. They, of course, respond to in- 
struction well, but the ducks, geese and 
chickens are at times almost impossible. It 
will take an entire week to get one scene that 
is no more than a flash on the screen. It is 
usually done by some trick, whereby they are 
led to do something natural to them, which 
tits in the picture and story. For instance. 
ducks will be kept away from water, then a 
little pond will be tilled and they instantly 
sense it. They will start for it at once, in pro- 
cession. 

Cats are difficult, but patience and affec- 
tion dominate them, although they can never 
be given intricate business. Goats are limited 
also, and the heavy work has to be borne by 
monkeys and dogs, with the others doing only 
such things as patience will at lost gain from 
them. 

Cruelty is something entirely unknown on 
the Pipp Poo Pad set In fact, Mr. Powers 
almost landed in jail for assaulting an Italian 
who brought his hand organ monkey out to 

fiv adverUMtnent in PHOTOPLAY magazine is guaranteed. 



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about the eyes ° 

ELIZABETH ARDEX has made her nourishing VE- 
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Photoplay Magazini Advertising Section 



"5 



work extra .mil strut k him because he was slow 
in obeying. The Italian didn't undei I md 
any English, but a stiff right hand wallop has 
mi nationality, 

One great obstacle that has to be overcome 
is the natural antipathy oi certain animal- for 
one anotlu-r. Monkeys hate iat-, the fowls 
hate both cats and monkeys, and the cats hate 
the dogs. The monkeys and doga are good 
friends and frequently become pals. The 

other aversions of the animals are overcome by 

discipline, which, in this case, is actual!) 
necessary, and l>y tact in making them eat 

together and gh -inn them play times together 
Dippy Doo Dadville is ideal for the social 

life of little animal-. There are busy Streets 

for shopping and promenades (all innocent, of 
course) tram-ear-, taxicabs and rigid traffic 
regulations, There is a non-sectarian church, 
a school, a courthouse, a -hop. a make-up 

beauty parlor. 'Then, of eour-e. there is a 
Certain amount of night life. And a miniature 
railroad in case the sheriff gives one of the fast 
boys twelve hour- to leave town. 

The monkeys are mad about the train. 
They are beside themselves with pleasure 
every time it figures in a plot. And the gos- 
sips (you know how duCKS will talk) blame 
all the scandal on the broadening effects of 
travel, and look askance at Hal Roach every 
time the leading lady wears a new frock. One 
can't be too careful in Dippy-Doo-Dadville. 



Hollywood's Mystery 



Woman 



[ CONTINUKD FROM PAGE 33 ] 

the humanness, the naturalness of her. I came 
away feeling that Marie St. Clair was a woman 
I had met, and I shall think of her often and, 
in time, forget that she lived only on the silver- 
sheet and think of her as a woman I used to 
know. 

I think, when the motion picture public has 
seen "A Woman of Paris" they will want to 
know all about Edna Purviance. 

The second interesting thing about her is her 
seclusion from the picture colony and her posi- 
tion in California's most exclusive social circles. 

Xow the truth is that Edna Purviance is the 
one film star who belongs in society. By that 
I don't mean she is the only one accepted. 
There are many screen stars who are welcomed 
and honored guests in any home. 

But Edna Purviance is a part of the most 
aristocratic and select set of Los Angeles, 
Santa Barbara and Pasadena. She doesn't 
come as a film star, a lion, a brilliant curiosity. 
She is one of them. She lives their life, spends 
her time with them. 

Her most intimate friend is Katherine Elkins 
Hitt. society leader, daughter of former Sena- 
tor Elkins and the object of much international 
attention at the time of her romantic courtship 
by the Duke d'Abruzzi, brother of the King of 
Italy. Mrs. Hitt is famed for her wit as well 
as her beauty. When she is at her splendid 
Montecito home, Miss Purviance is her house 
guest most of the time. Now that Mrs. Hitt 
is wintering at her estates in Middleboro, she 
is wiring frantically for Edna to join her there 
before she starts her next picture. 

I could name you any number of bachelors, 
belonging to old California families, who have 
been devoted to Miss Purviance. Her engage- 
ment to young Carlton Burke, polo ace, was 
rumored at one time. Polo games, yachting 
cruises, golf matches, week ends at Riverside — 
that is where you are apt to locate Miss 
Purviance. 

And she has assumed the manner and the 
outward appearance of that class rather than 
of the picture stars. I do not think anyone 
would ever take her for an actress. She has a 
calm, decisive, indifferent way with her. Her 
hair is cut short and she wears it plainly 
brushed back, and — her eyes trouble her from 
the lights — she puts on heavy, shell-rimmed 
glasses when she reads or writes. Her clothes 



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i 16 



Photoplay Magazine — Advertising Section 




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are quite simple. Her voice, particularly, i- 
pleasing, low and round. 

I had a dreadful time discovering where -he 
lives. Yet it is one of the most attractive 
homes I have ever seen — back of the Wilshire 
Country Club. Her mother lives with her. arid 
she has two married sisters, much older than 
herself, who visit her frequently. 

Once in a while she spends an evening with 
Mabel Xormand, an old friendship that sur- I 
vives from the early Sennett days. 

The third thing is the friendship that exists , 
between her and Charlie Chaplin, and the 
strangeness of her professional career, which 
is largely a result of that friendship. 

"D ACK in 1915, little Edna Purviance, just 
■'-'out of a Los Angeles finishing school, met | 
Charlie Chaplin at a party where she had gone 
with one of her married sisters. They were 
terribly thrilled at meeting a real "movie 
actor." Charlie took one look at the lovely, 
young blonde and said: 

" Did you ever think of going into pictures? " 
Edna giggled. "I should say not," she said, 
with her nose in the air. 

It happened to be true that she had no desire 
to act. But she did want to see how a movie 
was made. So, when Mr. Chaplin asked her 
and her sister to come down to Xiles, Cali- 
fornia, next day and see them work, she went. 
Ten minutes after her arrival. Charlie had a 
make-up on her. And she's been his one and 
only leading woman ever since. She has never 
worked with anyone else, never been directed 
by anyone else. A circumstance that is with- 
out a parallel in pictures. 

Several years ago a big dramatic part was 
offered her. Later, one of the big producers 
made her a starring offer. She refused them 
both. Charlie found out about it, and he said 
to her: "That's right. You stick by me now 
while I need you, and some day I'll make a 
dramatic star of you myself." 

"A Woman of Paris" is the result of that 
promise. 

Years ago, when they first worked together, 
everyone expected them to marry. I don't re- 
member whether an engagement was ever an- 
nounced, but certainly they were very much in 
love. But in those days, Edna was full of life, 
full of desire to see life. They had a quarrel, 
Edna dashed off to Honolulu with some 
friends, and. when she came back, Charlie was 
married to Mildred Harris. 

Strangely enough, out of that youthful ro- 
mance has grown a deep and wonderful friend- 
ship. Edna Purviance is Charlie Chaplin's 
oldest and truest friend. Eor eight years they 
have been friends, the kind of friends who re- 
joice in that inner feeling of mutual trust and 
dependence and affection. Other women have 
come and gone in his life, but Edna is the only 
one who has remained — the only lasting femi- 
nine influence in his career, the only woman to 
whom lie has always been consistently devoted 
and to whom he has turned in his moments of 
trial. 

She was born in Nevada, but she came to 
California when she was very young ami it has 
been her home ever since. 

"It isn't true." she saitl to me the other day. 
"that I'm not ambitious. But when I leave 
the studio — I leave pictures. I have to. Be- 
sides, in working with Charlie, there have been 
long spaces 1 el ween pictures, and 1 have had 
to build my own life outside. I believe Tin 
happier. And I believe I can give more to my 
work, now that my big chance has come." 



obligation. Edltlc 
JO*. DeRov & Sen. 



vile,;.- ,i 

. Hull.. 



No 



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Uin.il. d W.,1. Now. 

3517 D.Roy Bulldlm 
1,v. Pittsburgh. Pa. 



BE AN ARTIST 



ARTISTS EARN BIG MONEY 

Turn your talent Into money. Weoan teaohyou 
drawing In your home during spare time, well- 
trained nrusta earn From 840 lo 1200 a week. 
Thousands of publishers and adveri kits need iiir 
Rood artists, The MODERN METHOD Is an ens; 
learn to draw oiivlna] plotures. Bend 3 stamps for tun par* 
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MODERN INSTITUTE OK ART 
7 East 42nd Street Dept. 12 NEW YORK CITY 





OwnTfour Own Hohner 

Meet Jack Frost and Tuneful Hohner, the 
twin merry monarchs of winter. What lively 
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HARMONY 

Winter's the time for jolly music Yoa've just 
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puts life and punch into big parties or little; 
it brightens up those lonely hours when the 
storms keep you at home. You can learn to 
play it in an hour — any kind of music you like. 
Ask the dealer for the Hohner Free Instruc- 
tion Book — if he is out of them, write "M. 
Hohner, New York" for a copy. Hohner Har- 
monicas are sold everywhere; 50c up. 




BFU&NESS A 
ermudA 
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BERMUDA — Vacationist's Paradise 

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34 Whitehall St., N. Y., or Any Local Tourist Agent 



DON'T WEAR 
A TRUSS 

BE COMFORTABLE— 

Wen the . Brooks Appliance, the 
modern scienuiie invention which 
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and draw together the broken parts. I 

No salves or plasters. Durable. Cheap. L, D 

Sent on trial to prove its worth. Be- MR * C- E> bKotms 




ware of imitations. Look for trade-mark bearing portrait 

nn.l signature of C. K. Brooks which appears on every 

her genuine. t\ill information and 

book' 



.Arplinr.ce NV 
wklet sent free in plain, scaled envelope. 



BRfJOKS APPLIANCE CO.. 214 State St.. Marshall. Mich. 



The Seven Wonders of the Cinema 
i. Mary Pickford's Hairdresser. 

2. Douglas Fairbanks' Dentist. 

3, Gloria Swanson's Dressmaker. 
i. Harold 1 loyd's Bonesetter, 

5. Charlie Chaplin's Bootmaker. 

6. Rodolph Valentino's Press-agent. 

7. Cecil B. De Mille's Property-man. 
— Town Topics, 

1a, iv advertlssmenl In PITOTOP1 \ v . M \<: v/ink Is guaranteed 



A-j 



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■*i: m HOME- 



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at Hon e. IN YOUR SPARE TIME. ' 

■ Method. NO CANVASSING. 
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tar*. H rii'o today tor FBJSE Kmpk lamon ™,1 IltaaWtjd Booklet. 

DETROIT SHOW CARD STUDIOS SgjgjnjSSfc] 



Ph( 

The Romantic History of I 
the Motion Picture 

[ roMiM i i> i ROM PAOI 59 ] 

Brulatour was acutely aware of the situa 

tion. He saw the independent demand tori 

film rise from I a week I 

He made picas to Eastman at Rochester amll 
even dared invade the offices of the Motion] 
Picture Patents Company with a proposal iliatf 
they agree, tor a fee and consideration, to let 
the Independents buy Eastman film. The 
Patents company smiled back. 

■■ Ml of the Independents will be in jail 
pretty soon, and then they won't need any] 

lilm " 

There won- times when the legal aspects 01 
the situation made it seem that this was right, 
or, if not right, certainly correct 

At a time in the early weeks of con when 
the legal joustings had given the Independent: 
■ temporary respite and the pressure of th< 
raw >totk situation began to make an effect J 
Colonel Theodore Marceau, who operated al 
chain of important portrait studios in Newl 

York. Boston and other cities of the cast, 
became interested in the plight of the Indc-j 
pendents. Hi~ interest arose through his 
acquaintance with J. J. Murdoch., who will be] 
recalled as one of the early importers of Foreign. 
picture* through the International Film & 
Projecting Company, a factor in the develop- 
ment of the Independents. 

MVJtCEATJ was a considerable consumer of 
Eastman wares and felt a certain assur- 
ance in his acquaintanceship with George 
Eastman. 

"I can fix it." Marceau ventured to Mur- 
dock, who in turn went to Brulatour with the 
idea and a partnership suggestion. 

•'I've been talking that same thing to Mr. 
Eastman and if anybody gets it I ought to," 
brulatour responded, but he was willing to 
share profits with anybody who would get him 
Eastman stock to supply the clamoring 
Independents. 

Marceau went to Rochester, and failed. 
But his elTorts had perhaps an important part 
in paving the way. 

Brulatour renewed his attack and argument. 

"If you can let us have stock I will guar- 
antee that the Independents will absorb a 
million feet a week," he urged upon Eastman. 

Eastman agreed that he would take it up 
with the Motion Picture Patents Company 
to sec what they might allow under their ex- 
clusive contract. 

There were other factors in the situation 
besides commercial pressure Rut the com- 
mercial reasons were enough. Here was a 
growing, eager market for more film. 

The situation was also opportune in that the 
screaming Independents had begun to direct 
attention to the monopolistic character of the 
Motion Picture Patents Company and J. J. 
Kennedy's brain-child, the General Film Com- 
pany, which handled the licensed pictures to 
the trade. "Restraint of trade" was a phrase 
that began to roll trippingly off the tongues of 
the belligerent Independents. They were ready 
to use anything from a locust club to the 
Sherman act to get what they wanted. 

An ironclad and continued application of 
the terms of the exclusive contract for raw 
stock would have been politically and legally 
dangerous from many angles. Neither the 
Motion Picture Patents Company nor the 
Eastman Kodak Company could have gained 
from sitting on the film lid any longer. 

So, abruptly but unostentatiously one day 
in February of ion, George Eastman an- 
nounced to Brulatour that terms could be 
arranged for supplying him with raw stock. 
The price was approximately five per cent over 
that paid by the licensed picture concerns of 
the Patents Company. Five per cent was 
nothing to the film hungry Independents. 

About March 1, 191 1. the lid went off. 

A new era of film history began. The 







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ION 

blood in his eye and that there would shortly 
be hell-a-popping in the Sales Company 
crowd. 

Meanwhile, the ruthless raiding started. 
And on October 28, ign, Majestic announced 
the acquisition of '"Little Mary Pickford" and 
Mr. Owen Moore, this over the signature of 
Tom D. Cochrane, general manager. This 
Majestic company was surely starting some- 
thing. It was not an admitted published fact, 
but Miss Pickford had been acquired away 
from Laemmle's Imp concern at the amazing 
figure of S275 a week, an increase of one 
hundred dollars a week. 

Cochrane reached about, taking what and 
whom he chose for the Majestic stock com- 
pany until the imposing roster included David 
Miles, Mabel Trunelle, Anita Hendrie. Arm- 
Oliver. Herbert Prior, George Loane Tucker 
and Paul Scardon. 

November 26 Majestic offered its first Pick- 
ford release entitled "The Courting of Man - ." 
Nov.- that the producers were fighting over her 
Man- had really become a star. 

'"PHE waxing prosperity of the Independents 
■*- brought growth and swift development to 
every competently, or half competently man- 
aged producing concern. The early autumn 
of 191 1 found the Baumann and Kessel interests, 
flourishing with the Xew York Motion Picture 
concern, on the eve of widely extending their 
operations. Rumors got about that the X. V. 
M. P. would soon be in the market for a new 
and outstandingly able director. It was re- 
ported that they were going to be willing to 
pay a considerable price to get the best man 
in the business. 

This report reached young Thomas H. Ince, 
who was progressing merrily but not con- 
spicuously as a director for Laemmle's Imp 
company. Ince again gave a demonstration 
of Yankee strategy. He regarded a very 
young face in his shaving mirror and decided 
that it would be well to have a bit of a mous- 
tache to conduce to a scenic effect inferring 
more age and experience. When the mous- 
tache had reached the required pictorial 
proportions, Ince borrowed a large and im- 
pressive ring set with a four carat Kinil erlv 
monolith and went to call on Adam Kessel. 

As they sat talking across the comer of 
Kessel's desk, Ince held his chin propped in 
his hand in a thoughtful deliberate pose, 
which, quite incidentally of course, exposed 
to Kessel's dazzled view the scintillations of 
the big diamond. 

The diamond ring, by the bye. was and 
probably still is the property of "Doc" Willat, 
who was then Imp*s technical chief. 

Kessel blinked at the diamond and listened 
respectfully to luce's impressive remarks. 
Kessel quite forgot that this same Ince was 
something of an actor as well as a director of 
pictures. In fact Kessel was so impressed 
that he did not even tap the motion picture's 
grapevine telegraph to find out what luce's 
salary might be at Imp. Instead he took 
another look at the diamond and murmured 
something about possibilities for advancement 
and a starting salary of a hundred dollars a 
week. That was just forty more than Ince 
was getting at Imp. 

But Ince stroked his new moustache with 
tender consideration and yawned. He was 
not outwardly moved. He pretended not to 
have heard Kessel's offer. A man with a 
diamond that big could hardly afford to listen 
to a mere hundred a week. 

"Oh, I'll see you again some day." Ince re- 
plied and sauntered out. 

This was most convincing. Kessel sent for 
Ince after a few days had passed. 

" How about $i>ca week?" 

Ince deliberated two or maybe three seconds 
before he could trust his trembling voice to 
say "Yes" without too much color of anxiety. 

Ince. accompanied by Mrs. Ince, Ethel 
Grandin. Ray Smallwood and Charles Weston 
of the Imp company, went to Los Angeles to 
make pictures for the X. Y. M. P. at the old 
Edendale studio. 



Photopi 




(^Marvelous Mw Spanish (iquii 
iHakes any hair naturally curly 

in 2o minutes 



The Spanish Beggar's 
Priceless Gift 

by Winnifred Ralston 

FROM the day we starred to school, Charity 
Winthrop and I were called the tousled- 
hair twins. Our hair simply wouldn't behave. 

As we grew older the hated name still clung 
to us. It followed us through the grades and 
into boarding school. Then Charity's family 
moved to Spain and I didn't see her again 
until last New Year's eve. 

A party of us had gone to the Drake Hotel 
for dinner that night. As usual I was terribly 
embarrassed and ashamed of my hair. 

Horribly self-conscious I was sitting at the 
table, scarcely touching my food, wishing I 
were home. It seemed that everyone had won- 
derful, lustrous, curly hair but me and I felt 
they were all laughing — or worse, pitying me 
behind my back. 

My eyes strayed to the dance floor and there 
I saw a beautiful girl dancing with Tom 
Harvey. Her eye caught mine and to my sur- 
prise she smiled and started toward me. 

About this girl's face was a halo of golden curls. 
I think she had the most beautiful hair I ever saw. 
My face must have turned scarlet as I compared 
it mentally with my own straggly, ugly mop. 

Of course you have guessed her identity — 
Charity Winthrop, who once had dull straight 
hair like mine. 

It had been five long years since I had seen 
her. But I simply couldn't wait. I blurted out 
— "Charity Winthrop — tell me — what miracle 
has happened to your hair?" 

She smiled and said mys- 
teriously, "Come to my 
room and I will tell you the 
whole story." 

Qharity tells of the 
beggar's gift 

"Our house in Madrid faced a 
little, old plaza where I often 
(trolled after ray siesta. 




A Matchless Marcel 



"Miguel, the beggar, always occupied the end bench of 
the south end of the plaza. I always dropped a few 
centavos in his hat when I passed and he soon grew to 
know me. 

"The day before I left Madrid I stopped to bid him 
goodby and pressed a gold coin in his palm." 

"Hija viia," he said, "You have been very kind to an 
old man. Digamelo (tell me) senorita, what it is your heart 
most desires." 

"I laughed at the idea, then said jokingly, 'Miguel, my 
hair is straight and dull. I would have it lustrous and 
curly'." 

"Oigame, senorita." he said — "Many years ago a 
Castilian prince was wedded to a Moorish beauty. Her 
hair was black as a raven's wing and straight as an arrow. 
Like you. this lady wanted los pelos rhos (curly hair). 
Her husband offered thousands of pesos to the man who 
would fulfi'l her wish The prize fell to Pedro the droeuero. 
Out of roots and herbs he brewed a potion that converted 
the princess' straight, unruly hair into a glorious mass 
of ringlet curls. 

"Pedro, son of the son of Pedro, has that secret today. 
Years ago I did him a great service. Here you will find 
him, go to him and tell your wish." 

"I called a cache and gave the driver the address Miguel 
had given me. 

"At the door of the apothecary shop, a funny old hawk- 
nosed Spaniard met me. I stammered out my explana- 
tion. When I finished, he bowed and vanished into his 
store. Presently h^ returned and handed me a bottle. 

"Terribly excited — I could hardly wait until I reached 
home. When I was in my room alone, I took down my 
hair and applied theliquid as directed. In twenty minutes, 
not one second more, the transformation, which you have 
noted, had taken place. 

"Come, Winnifred — apply it to your own hair and see 
what it can do for you." 

Twenty minutes later as I looked into Charity's 
mirror I could hardly believe my eyes. The impossible 
had happened. My dull, straight hair had wound itself 
into curling tendrils. My head was a mass of ringlets and 
waves. It shone with a lustre it never had before. 

You can imagine the amazement of the others in the 
party when I returned to the ballroom. Everybody 
noticed the change. Never did I have such a glorious 
night. I was popular. Men clustered about me. I had 
never been so happy. My hair was curly and beautiful. 
I asked Charity's permission to 
take a sample of the Spanish liquid 
to my cousin at the Century Lab- 
oratories. For days he worked, 
analyzing the liquid. Finally, he 
solved the problem, isolated the 
two Spanish herbs, the important 
ingredients. 

They experimented on fifty 
women and the results were sim- 
ply astounding. Now the Century 
Chemists are prepared to supply 
the wonderful Spanish Curling 
Lovely Curls Liquid to women everywhere. 



Take advantage of their generous trial offer— 

I told my cousin I did not want one penny for 
the information I had given him. I did make one 
stipulation, however. I insisted that he introduce the 
discovery by selling it for a limited time at actual 
laboratory cost ph:s postage so that as many women as 
possible could take advantage of it. This he agreed 
to do. 

Don't delay another day. For the Cent.iry Chemist* 
guarantee satisfaction or refund your money. 




Wavy Bob 



No-Profit Distribution 
of $3.50 Bottles 

(only one to a family) 

We are offering for c limited 
time only, no-profit distribu- 
tion of the regular 83.50 size 
of ourSpanish Curling Liquid. 

The actual cost of preparing 
and compounding this Span- 
ish Curling Fluid, including 
bottling, packingand shipping 
is 81. 87. We have decided to 
ship the first bottle to each ' 
new user at actual cost price. 

You do not have to send one 
penny in advance. Merely fill 
out the coupon below — then pay the postman 
81.87 plus the few cents postage, when he delivers 
the liquid. If you are not satisfied in every way, 
even this low laboratory fee will be refunded 
promptly. This opportunity may never appear 
again. Miss Ralston urges that you take advan- 
tage of it at once. 

CENTURY CHEMISTS 

(Originators of the famous40Minute Beauty Clay) 

Century Bldg., Chicago 

SendNoMoney - -Simply Sign and MailCoupon 

CENTURY CHEMISTS Dept. 43> 

Century Bldg., Chicago 

Please send me in plain wrapper, by insured 
parce post.aful size 83.50 bottle of Liquid Mar- 
celle (Spanish Curling Liquid) I will pay post- 
man 81.87, plus few cents postatre. on delivery, 
with the understanding that if, after a five-day 
trial, I am not elated w ; th the results from this 
magic curling fluid, I may return the unused con- 
tents in the bottle, and you will immediately 
return my money in full. 

Name 

S'reel 



To-i 



State. 



When you write lo advertisers please mention PIIOTOrLAY MAGAZINE. 



I 20 



Photoplay Magazine — Advertising Section 



CLASSIFIED ADVERTISING 

Rate 3Scts. per word. FORMS FOR APRIL ISSUE CLOSE FEBRUARY TENTH 



AGENTS AND SALESMAN 



S6O-M00 a \\i:i;k. genuine goi.d letters 
for store windows. Easily applied. Free samples. 
Liberal offer to general agents. Metallic Letter Co., 
■i:;i;-.\ North Chirk. ChleuKO. 

VVB STAHT YOU WITHOUT A DOLLAR. SOAPS, 
Extracts, rerfumes. Toilet Goods. Experience uuDeces- 
sary. Cirrrirrllon Co.. Dept, 'J"*.. St. Louis. 

WIS STAHT YOV IN BUSINESS, PUKNISHINQ 
every thing; men and women. $30.00 to $100.00 weekly. 
Operating our "New System Specialty Candy Factories" 
anywhere. opportunity lifetime; valuable hooUlet free. 
\V. illllyer ltagsilirle. Drawer 00, East Orange, New 
Jersey. 

MAKE $25 TO $50 WEEK BEPRESENTING 
Clows' Famous riillailclphla llosiery, direct from mill 
— for men, women, cliildren. Every pair guaranteed. 
Trices that win. Free Bonk, "How to Start." tells the 
story. George Clows Company, Desk S4. Philadelphia, 
Ta. 



AC 


ENTS SELL WOLVERINE LAUNDRY 


SOAP. 


Won 


h-rful repeater anil good prollt maker. Fl 


ee auto 


to ll 


istlers. Wolverine Soap Co., Dept. B-36, 


Grand 


Itrrpi 


Is. .Mich. 





$12 DAILY EASY. INTRODUCING LADIES' ANU 
.nen's sweaters in silk, wool and artificial silk. 23 
colors. Latest novelties. Going like wildfire. You 
siniiily show samples we furnish; take orders. We 
di liver and collect. Your pay daily. Mac-O-Chec 
Mills Company. Form I0S2, Cincinnati. Ohio. 

SALESMEN WANTED TO SELL OIK BIG VALUE 
2 piece summer puits $21.50 and famous virgin wool 
suits for $31.50 — none higher. $50 to $100 a week 
and more earned by hundreds of men. We teach you. 
Write J. 11. Simp ion. Dept. 7 IS. 813 Adams. Chicago. 

AGENTS— $15 DAILY EASY— YOFR PAY IN AD- 
vanco introducing New Insured llosiery. Must wear 
or replaced free. No capital or experience required, 
just slrow samples, write orders. Elegant outfit fur- 
nished. All colors, grades including silks. Mac-O- 
Chee Mills Company, Room 2112. Cincinnati, Ohio. 

AGENTS— 200 7» PROFIT, WONDERFUL LITTLE 
article. Something new; sells like wildfire. Carry in 
pocket. Write at once for free sample. Albert Mills, 
Manager. 17711 American Building. Cincinnati. Ohio. 
PATENTS 

PATENTS. WRITE FOR FREE GUIDE BOOK 
and Evidence of Conception Blank. Send model or 
sketch for opinion of its patentable nature. Highest 
References. Prompt Attentioir. Reasonable Terms. 
Victor .1. Evans ft Co.. 703 Ninth. Washington. P. C. 

INVENTORS DESIRING TO SECURE PATENTS 
should wide for our book, "How To Get Your Patent." 
Senil model or sketch of Invention for free opinion of 
patentable nature. Randolph & Co., Dept. 462, Wash- 
ington, D. C. 

INVENTIONS COMMERCIALIZED. PATENTED OR 
unpatented. Write Adam Fisher Mfg. Co., 1S7, St. 

Louis, Mo. 

POEMS-VERSES 

$500.00 PRIZE CONTEST. IF YOU WRITE THE 
best fourth verse of our song "Empty Arms," you 
will receive $500.00. Send your name and we shall 
send you free tire contest rules and words of tills 
song. World Corp., 245 W. 47th St., Dept. 751B, 
New Y. rk. 



A {500.00 CASH PRIZE IS 
best second verse written for 
Those wishing to compete may 
rules by addressing Equitable 
stale Theatre, N. Y. 


OFFERED FOR THE 

the song "Remember." 

receive a free copy with 
Music Coi-poration, 466 


ENTERTAINMENTS 



PLAYS. MUSICAL COMEDIES AND REVUES. 
minstrel music, blackface skits, vaudeville acts, mono- 
logs, dlalogj, recitations, entertainments, musical read- 
ings, stage handbooks, make-up goods. Big catalog 
free. T. S. Dcirison & Co.. 623 So. Wabash, Dept. 
7fi I'h ion go. 

' HELP WANTED 

BE A DETECTIVE; EXCELLENT OPPORTUNITY; 
good pav: travel. Write C. T. Ludwig, 307 Westover 
Ulilg.. Kansas City. Mo. 

DETECTIVES EARN BIG MONEY. EXCELLENT 
opportunity. Experience unnecessary. Particulars free. 
Write, American Detective System, 196S Broadway, 
New York. 

ALL MEN, WOMEN. BOYS. GIRLS. 17 TO 65. 

wining 10 accept Government Positions. $117-$250, 

traveling or stationary, write Mr. O/.imnt, 265, St. 

Tunis, Mo.. Immediately. 

EARN $20 WEEKLY SPARE TIME. AT HOME. 
addressing, mailing, music, circulars. Send 10c for 
mush-. Information, American Music Co., 165S Broad- 

wny. Kept. V-3. N. Y. 

S6-LS A DOZEN DECORATING PILLOW TOPS AT 

Homo. Experience unnecessary; particulars for stamp. 
Tapestry Palm Co., 131, LaGrange. Ind. 



HELP WANTED 



DETECTIVES NEEDED EVERYWHERE; CITIES. 
towns. J..ug<- salaries. Write National Headquarters, 

l-t East 71'tli. New York. 

$100 TO $250 MONTH. MEN— WOMEN, 1^ 1 P 
wanted. 1'. s. Government itcady positions. Short 
hours. Pleasant work. Paid vacation. List positions 
free. Franklin Institute, Dipt. F-133. Ko< 

V. V. 

EARN MONEY AT HOME DURING SPARE TIME 
painting lamp shades, pillow tops for us. No can- 
vassing. Easy and interesting work. Ex;>erienee un- 
necfcssary. Nlleart Company, 2^20, Ft. Wayne, Indiana. 
WOMEN TO SEW. GOODS SENT PREPAID TO 
your door: plain sewing; steady work. No canvassing; 
send stamped envelope for prices i>ald. Universal 
Company, Dept. 21, Philadelphia. Pa. 



WANTED— GIRLS— WOMEN. !« 
Gown Making. Sample lessons fie 
dlately. Franklin Institute, Dept. 
N. Y. 



UP. LEARN 

Write iramc- 

-507, Rochester. 



PHOTOPLAY TEXT BOOKS 



"HOW TO WRITE A PHOTOPLAY.'* BY C. G. 
Winkopp, Tribune Building. New Y'ork. 50 cents. 
Contains model scenario, "Where to Sell." "How to 

HuiH Plots," "Where to get Plots." 

BIG MONEY WRITING PHOTOPLAYS, STORIES, 
noems. Send for free copy America's greatest maga- 
zine for writers. Tells you how to write and sell. 
Writer's Digest, Bl] Butler BMg.. Cincinnati, Old" 
OF INTEREST TO WOMEN 

SWITCHES MADE FROM COMBINGS. THE NEW 
way. Write for style booklet. Mrs. E. Vandervoort. 
l)aveni>ort. Iowa. 

FREE SAMPLE FACE POWDER WITH $1.00 I'.OT- 
tle Skin Bleach. Mine, Blanch, 319 Second St., Little 

Falls, N. V. 

OLD COINS AND STAMPS 

STAMPS, 50 VARIETIES. AFRICA. BRAZIL. 
Peru, Cuba, e'c. lilc; 50 different U. S. 25c; l.OnO 
mixed. 40c; 1,000 hinges, 15c. List free. C. Stegnian, 
5944 Cote Brilliantc, St. Louis. Mo. 

OLD MONEY WANTED. WE PAID $2,500 FOR 
one silver dollar to Mr. Manning of Albany. N. Y. 
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Ke-~el and Baumann were ready to plunge- 
Charles O. Baumann went to the west coast to 
-ce the new director launched in his work. 
Ince's first X. Y. M. P. effort was a one reeler 

entitk-1 "The New Cook." Tradition says it 
was a hit. En route to a mountain location 
near Santa Monica canyon. Ince discovered 
that the Miller Brothers' 101 Ranch show was 
wintering in the vicinity. He remarked with 
a director's yearning that it would be a grand 
thing to have that show to play with in the 
pictures. 

Baumann seemed to like the notion. He 
did some negotiating and then wired Adam 
Kessel: 

"Can get 101 Ranch show for the winter at 
$2. ioo a week, what do you think?"' 

Kessel thought it over and answered in good 
race track fashion: 

"Take a chance." 

The reader accustomed to the billion dollar 
publicity barrage laid down by the press 
agents of the screen of today can scarcely 
realize what a speculation this two thousand 
dollar a week project was in that day. It was 
without parallel or precedent. It was an 
epochal beginning. The art of the motion 
picture was about to enter upon its astonishing 
career of spectacle building. 

Baumann signed the ior Ranch show for 
the season. 

Xo one could have been more amazed, de- 
lighted and perplexed than one Thomas H. 
Ince. He had grown accustomed to the 
ordinary problems and methods of the director 
of the day and was probably vastly more com- 
petent than most of them. But this, this 
matter of operating a wild west show in con- 
junction with a motion picture company, was 
something else again. 

That first morning when Ince saw the Miller 
Brothers 101 Ranch show strung out on the 
road, an imposing caravan which seemed to 
reach clear into infinity, he bethought himself 
of the cost — twenty-one hundred dollars a 
week ! 

" This," he remarked abruptly to his camera- 
man, "had better be pretty good." 

Up to this juncture Ince had no scenario for 
the utilization of the big wild west show. 
However, he started shooting scenes and the 
story was born then and there, under lire. It 
became a two reel picture entitled "Across the 
Plains." 

Baumann wired Kessel in excitement and 
enthusiasm: 

"Got everything, a hundred and fifty 
horses, fifty-two Indians." 

Baumann started east with the two reeler 
under his arm. 

A TWO reel picture in ion was sensational. 
Split reels with two or three subjects were 
common and a one reel picture was the ac- 
cepted standard production of the day. 

Xow the X. Y. M. P. product was going to 
the exchanges through the Motion Picture 
1 Jistributing & Sales Company, at the standard 
price of ten cents per loot. This placed a 
very definite limit on the earning power of a 
picture. There was a demand for about 
thirty-live to thirty-eight prints of the X. V. 
M. P. subjects. At ten cents a foot this 
meant a loss on these expensive Ince two 
reelers with the ioi Ranch show in them at 
Sj.iooa week. 

There were some sleepless nights for Kessel 
and Baumann. 

They decided that they would have to take 
the radical and unprecedented step of raising 
the price. Ten cents a foot had become an 
established fact, something akin to Holy Writ 
in the one track, narrow gauge mind of the 
trade. 

baumann and Kessel issued a circular to the 
buying exchanges, customers of the Sales 
company group, to the effect that the price on 
the two reelers of the Bison brand would be 
twelve cents a foot. 

TTiis is significant. Here and now for the 
first time the factor of quality production came 
into the American producing field to introduce 



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the terrifying fad that the motion picture 
was perhaps an art merchandise, not merel) 
merchandise As w is to be expected, a storm 
of indignation arose. The spirit oi conserva 
tism and standpatism is always the widely 
prevailing one oi the motion picture indu 
The vaunted enterprise and initiative of t lu- 
business is always expressed in airy words. 
In intent and in deeds the picture industry is 
tin' world's most conservative commercial 
institution. It i- an ultra conservatism that 
leads to the most violent extravagances of 
money and effort to avoid the pain of thought- 
ful originality. 

This spirit prevailed then. Until this 
moment when Baumann ami Kessel found 
that the enthusiasms of hue had carried them 
up into a new high level of producing cost, 

it had been the accepted notion that all ex- 
posed motion picture negative was worth a 
dollar a foot and that all positive prints were 
worth ten cents a foot. It was traditional. 
There are a good many motion picture men 
who still think of the picture in the same 
term-. As lon^ as that line of thought pre- 
vailed, the industry of making and selling pic- 
tures could be kept in neatly standardized 
channels, as routine as the making of bricks, 
buns or bonbons. The floods could be meas- 
ured with a yard stick. 

N> >W came the first inkling of a new element 
of valuation. That subtle thin-; called 
quality, an element of value which called for 
the bloodsweating process of the application of 
mind and judgment, was creeping in to poison 
the rocking-chair rhythm of the routine mak- 
ing of routine pictures for routine profits. 
No wonder there was opi>osition. 

The exhibitors liked the pictures, but the 
ccchangemen did not enjoy the idea of paying 
two cents more a foot for film when they could 
get it at ten. They had never heard of quality 
anyway. It was a mere stuck up notion. 
One reel of film was just as long and just as 
good as another reel if it measured a thousand 
feet. It was easy for those who felt inclined 
to foment cancellation of print orders against 
Kessel and Baumann. 

Remember that this same precious pair 
"K & B" had raided the "Imp" for Ince and 
several important players, that also they were 
in a somewhat friendly relation to Majestic, 
which had looted "Imp" of the services of 
Mary Pickford. 

Remember, too, that the Independents, 
while they were nominally allied, had been 
driven together in the Sales Company by 
fear of the Motion Picture Patents Company 
rather than because of love for each other. 

n> it might have been anticipated that Carl 
l.aemmle, the chief of Imp and the head of the 
Motion Picture Sales Company, would not 
I e entirely in sympathy with this upsetting 
price-raising departure of Kessel and Bau- 
mann. Laemmle's exchanges, of which there 
were many, cancelled orders for the K. & B. 
product right merrily. The rest .ollowed. 
■ To save the face of the situation while they 
thought out a solution, Kessel and Baumann 
i->ued a letter saying they were going into 
production exclusively for the European 
market Which of course was mere con- 
versation. 

Meanwhile the rip-tearing Indian shooting 
process of making pictures with Ince and that 
costly 101 Ranch show was going out at 
Santa Monica canyon, piling up costs on the 
ledger and negatives in the safe. A few weeks 
more of that and K. & B. could see the bottom 
of the bankroll rising to telescope with the top. 

But Kessel and Baumann had enjoyed the 
charmingly effective discipline of looking fate 
and luck in the face together when they had 
been following the ponies, "making book." 
They were ready to make a new bet against 
the field on an unknown and